Who: Paul Atreides, Ortus Nigenad, Mercymorn the First and you What: January catch-all When: January Where: Various Content warnings: Body transformation, memory alteration
It might be any fine day early in the new year when a pair of green eyes that have not been the colour green for many, many years open to a ceiling he did not fall asleep under. The man behind them, lying in a bed in unmentionable condition, thinks with no small amount of surprise: I remember this.
A number of things happen after that. He's nothing if not a swift thinker, and unlike his last iteration, he has the advantage of fortuitous solitude. They're minor errands, individually. Their impact in aggregrate remains to be seen.
None of them are as important as this next one. The man changes into a fresh black shirt, one that is too large for his teen frame but fits his more muscular maturity appropriately, and shrugs into a jacket he'll have to get let out in the shoulders. Another errand to run, in time.
What a quaint idea. Errands. It brings a slim, benevolent smile to his face as he examines himself and his freshly trimmed stubble (beard shed like old armour) in the mirror that he already knows as his. Satisfied, he steps away, into his shoes, and out the front door, his package and two letters tucked under his arm. The walk is a short one. In no time at all, he's standing before a door he saw yesterday, and nearly a lifetime ago.
He knocks in their accustomed way, to let the boy behind the door know who's come calling, and steps back, smile still gently fixed in place.
spoilers for his canonpoint throughout this thread
Rubbing at his voluminous bedhead, Midoriya is thinking of breakfast when he receives a visitor. He knows the sound of Paul's slight footsteps in the hall and his routine knock well enough to open his apartment door without question.
"Hey, Paul-kun--AHH!!"
The thick light smoke bursting out from Midoriya's entire body doesn't cause damage, not even a cough, but it obfuscates the retreating boy completely. His Omen, taking his place in a whirl of dark smoke, is not so harmless. They block the door with their body nearly the size of a car and stamp one hoof in a threat display. Wordlessly they demand proof of identity by a show of Paul's Omen.
"Who are you?!" Midoriya demands unnecessarily from what sounds like the living room. Paul's weird uncle who knocks on doors exactly like him?! Someone else in disguise trying to match Paul's appearance as best they can?! It doesn't matter that Danger Sense didn't warn him of anything. A loophole has been found before. Dealing with Himiko Toga made Midoriya more cautious. At least he's mastered Smokescreen enough to automatically reach for it at need.
He doesn't flinch, not from the burst of noise or from the wall of smoke or even the looming challenge of the massive Omen. He lifts his empty hand with deliberate slowness, and in his palm a burst of similar smoke coalesces into a familiar tiny shape. Sophia twitches her nose at her fellow Omen and pulses out a band of wordless reassurance.
"Paul Atreides," he says, projecting calm through his voice in unison with his Omen's more ephemeral effort, "A few years removed. Which security protocol do you want to use to verify that? Your choice." A minor beat. "But take a breath, first."
He knows he can pass all of them, down to the rotating and time-bound signs and countersigns. There's no reason to rush.
The hallway feels as well-known to him as if it hasn't been years since he saw it. The collision of time and space is something he's accustomed to navigating, but there's a certain novelty to this configuration of deja vu and recognition. Voices, for example. They have a peculiar closeness to them he wouldn't have guessed at.
Two names on the List (a set of documents that acquired capitalization as Paul came to realize its significance and impact) are surely better than one, or so went Paul's reasoning when he graciously agreed to grant them access to his demesne (an 'apartment', which is a kind of extraordinarily small and cozy dwelling) in order to accomplish those tasks he could not (reaching the stove to make dinner).
And he has resolved to keep faith in his older self's instructions out of loyalty, whatever peculiarities the names on the List manifest. You can't go around doubting yourself, after all, or how would you ever get anything done?
Paul swings his legs where he's perched on a high stool next to a counter in the kitchen (which is right next to the sitting room, and the bedroom, which is absolutely amazing) and runs his front teeth over his bottom lip. He doesn't bite, because that's a Fidget, and not good manners, but he very much wants to.
"Are you sure you've done this before?" He asks, as politely as he can, using his most proper accent and deferential tones.
Daniel absolutely does not realise that he actually knows this kid - especially since it's not just made more difficult by Daniel's own shift in age, but Paul's as well. But what he does know is that he's not going to leave a kid probably less than half Daniel's own age to fend for himself when that sort of thing is totally impossible. And the fact that he's heard this place is supposed to be dangerous sure only makes him want to at least help do something for this kid even more.
Apparently you just can't take that fussiness out of Daniel LaRusso, even when he's so much smaller - and so much more mouthy.
The latter is immediately shown off by the way Daniel lets out a loud, near-exaggerated ow! before glaring at his blonde cooking partner. (Imagine both of those last two words in separate airquotes.)
"Johnny, watch out where you put your arms! That elbow was right in my bruise!"
You know. That bruise that partially is Daniel's own dumb fault for deciding to just fight it out with Johnny earlier.
Though Daniel's temper seems to simmer down immediately the moment he realises the younger boy was talking to the two of them, his expression a whole more friendly when he turns to look at Paul, trying to do his best to put a Reassuring Smile on his face.
"Don't worry, don't worry! We totally know what we're doing." Just look at them. Two bonafide experts, if anyone's ever seen one. "You can count on us!"
Johnny wasn't exactly sure why his name would be on a list to help some kid out. But... The kid didn't have any parents around and Johnny actually knew a thing or two about getting left on his own as a kid. He wasn't going to leave him hanging.
...Not that he had a good way of showing it. He's focused on the task at hand and just glares LaRusso's way when the other complains.
"Hey. It's your own fault for walking your bruise right into my elbow." It's a petulant response but- What was anyone expecting.
He then glances back to Paul.
"Besides? How hard could this be? It's just putting shit in a pot and letting it boil."
The bar is the same. He gets the same looks he did the first time he stepped inside of it, which are none, and he marks the same scuffs on the floors, the same slightly crooked hang of one light.
Finding the same booth open is better than chance. He's smiling when he slides into it, setting up a bottle of clear liquor, a bottle of water dripping condensation down its throat, and two glasses in front of him. He arranges them just so, at angles he finds pleasing, and sits back in the booth's plush cushions to retrieve his Omni from his pocket.
His Omen emerges from his shirt collar. He brings his hand up to stroke gently behind her ears as she shivers.
Apollonia does not take her time. She isn't sure how much time she has to take, after all—not after leaving her only friend to die, not after being shunned by God, not after the countless reminders that she is temporary and how vehemently she refuses to remain that way. If she has no natural place in God's realm, she will carve one.
She walks in and receives a few looks of her own, but it's easy to ignore them at this point when she has such a clear goal in mind. She stands still near the entrance and scans her eyes across the patrons. Though she has a perfectly functional memory and knows what her host looks like, there's a flash of recognition in the back of her mind that she's learned to understanding the meaning of, and she walks towards him.
"Muad'dib," she greets, her voice curt, and she slips easily into the booth. "I'm glad to see you here safely. It would be a shame for this to end before it starts."
"Call me Paul," he says, with warmth out of step with her sharp greeting, "And thank you for your concern. Kind of you."
He doesn't ask before he pours for both of them. The liquor has a sharp, clean herbal tinge laid over the alcohol, and he mixes it with two parts water. His motions with the bottles are precise and controlled, each stream cut off without a stray drop lost down the neck of either. He slides her across the table with a smile that's curved like an invitation.
"We have a saying about beginnings back home. It's when it's most crucial to ensure all things are in alignment. Shall we agree on that point as we start?"
She's been having a lot of bad dreams, these gritty, too-long days. She tosses inside damp, sticking sheets, peeling them off with her nails, wriggling like a wet new thing breaching its chrysalis.
(Take John alive. He's worth more to you alive.)
She mewls in her sleep, arching her back like a bow. The sheets slough off her calves, her ankles. They sting coming off, so stuck to her that they feel like a second skin. She ratchets hard with habitual tension, the overclocked engine of her that started chewing through nightguards at fifteen and never stopped, and it's terrible, terrible, unendurable.
She does not have to endure it. Something percussive happens to her chest, to her head, and she sits bolt upright with damp sheets still clinging to her, panting like a dog run out under the sun.
They're not sheets. She doesn't scream. She does vomit.
The next few minutes are unmentionable. She shoves through them impatient with terror, shouldering aside her distress in favour of action. She's always had a knack for that. It's with as much of the blood as she could scrape off on old, dark towels removed and her tacky hair pulled back that she descends the ladder from the attic on her bare feet, draped in a nightshirt that goes down to her knees.
She pads down the hall with all the silence sneaking out as a teenager could teach her, which is painfully loud to her ears, and she passes by the closed doors without opening them. It's the door that's open a crack she pauses at, peering inside to make out a blurry silhouette tangled in his own sheets - cotton ones.
She pushes open the door very carefully. She makes her way closer, to confirm her suspicions, and stares down at the sleeping body in the bed contemplatively for nearly fifteen seconds. She picks up the alarm clock from the side table and raises it up over her head.
She's got a good arm, too. Ask anyone who's ever interrupted her in the middle of her lab. The alarm clock clips the side of his head with a satisfying clunk.
"What the fuck, John!" She bawls, affronted, her pale blue eyes screwed up and gleaming with panicked outrage.
John comes awake in a lurch of startled incredulity. He blinks at her, face scrunched in the familiar muzzy way around unfamiliar oilslick eyes; he levers himself up on his ordinary elbows; the clock tips against the headboard with a quieter thunk when he moves. In this first moment, he frowns at her with the easy bewilderment of a man who's just had a clock thrown at his head.
She is a simple mass of thalergy, a human's worth of decay, her soul singular and bare. For a moment he can't understand it. His brow creases with incomprehension, and he shuffles up to look at her, shirtless and rumpled and staring.
He starts to say Mercy, and stops. His lips are still parted around the aborted name. He has gone very still.
"Ow?" She echoes back, appalled. "Ow? Oh - I'll show you ow, you unbelievable - !!"
With that, she throws herself knee first on the bed, bouncing only lightly before she snatches up the pillow not creased by his head and, for lack of anything harder, begins to punctuate her sentences with it.
"I said, what the fuck, John -" a blow to the chest "- why did I wake up -" she advances with an awkward, infuriated shimmy "- covered in skin -" a feathery thwack to the face "- after I specifically told you not to use your bloody magic fingers on me -"
Her shuffling forward through the mass of comforter and sheets has brought her close enough to slam the pillow against his bare chest with both hands, so she does, glaring so fiercely at him she's near to go cross-eyed, and that's when it's clear that on top of everything else that's so frighteningly askew, so is he.
The wave of her wrath crests and breaks. Her mouth screws up so hard her chin dimples as she glances from one orbital socket to the other.
"What happened to your eyes?" She asks, voice shrunken and unhappy.
It's been a difficult transitional period. That's the sort of thing people say when something is absolutely, horrendously fucked, but thinking about it that way would only create further problems.
So it's been a difficult transitional period. Some of the discoveries she's made have been the sort of thing that once upon a time would have had her crouched in the corner of a room huffing into a paper bag. (Which she has done a few times, but that's neither here or there.) But that had been before the first difficult transitional period, and she's discovered (as usual) that she has a reserve of steel in her sufficient to tackle the challenge.
Even if today, the challenge is not dropping the mug of tea she just finished making for herself when there's a knock on the front door. She freezes in the kitchen, her heart tripping over itself all the way down her ribcage, and when hot tea sloshes over her fingers and dampens the hems of her over large sweater she curses fiercely and slams the mug on the countertop with the sort of force that always makes people concerned she's going to break something.
Someone else will answer it. She knows that perfectly well. One of the strangers here (some with the faces of her friends) will pop right off to get it, or leave it to one of John's awful skeletons. She knows she isn't supposed to. Something about the risk of it all, with her and her fragile and rather sad little human body.
But there are no footsteps on the stairs or in the hallway. The dreadful girls don't drag themselves out of wherever they might be moping. John doesn't pop his head around a corner. The other two don't slink out of hiding or bend down by the kitchen window to assure her of her staying put, snug and secure.
There's another knock. She pushes her glasses up her nose.
The front door opens shortly after. A short woman with a messy bun pulling back her pale peach coloured hair peers up at the visitor, her equally pale blue eyes made wide and bright by her wire frame glasses.
"Hello?" She says, with a briskness just shy of perfunctory. "How can I help you?"
It's been a difficult transitional period. It's the kind of understatement John is so fond of, isn't it? A clever and funny little way to describe how everything's really gone to absolute shit. Very corporate in a way that Apollonia barely remembers but detests all the same. And yet, she likes to think that when she shows up on his doorstep, all her atoms turned back into the insidious molecules of unknowable rage, he'll enjoy hearing her call all of this "a difficult transitional period".
Finding the hilariously nicknamed "Bone House" isn't difficult. He's already made a name for himself, she thinks, her red hoop earrings irritating the holes caught in a perpetual state of attempting to regrow with each step she takes closer to his threshold. Her hair blows quietly in the chill of the wind, a television tuned to a dead channel hovering in the air so the long blonde hair almost makes her more obvious. She's stolen a hoodie from the wardrobe of someone she's heard actually belongs in this body, some drunkard bar patron mistaking her for this alliteratively annoying Anna Amarande, but the black turtleneck, a constant for the feeling of some thing too weak to matter trying to choke her, is her own.
Her footsteps crunch in a patch of snow that hadn't yet been cleared, and she raises a pale arm to knock at the door. Her weight shifts to the back leg, and she puts her hands in the pockets of the borrowed hoodie. John would love this space, wouldn't he? Not extravagant, not compared to some other places she'd passed on the way here, but clearly large enough to show that he has a following, that he has power. She detests it more than she has detested most things in the last fifteen minutes.
She's not expecting him to answer the door himself; no, God would have people for that. But she's equally not expecting to know the people whom God has employed, and the perpetual scowl lightens slightly. This woman's green eyes, ones that have never sit properly on her face, open wide. It's what will have to pass for a smile, but this person would know that about her.
"Mercymorn," she says, her tone flatter than her face would indicate. It's not quite her, but she supposes the reconstruction process was rough on everybody, if she's being mistaken for someone whose initials are the same letter twice. "He has you on door duty? And I thought aerosolizing your nervous system was punishment enough." It's going to have to pass for a joke. Her own glasses glint. "Well, where is he?"
The oval faced woman stares up at Apollonia with frank astonishment, as if she'd open the door to be doused in a bucket of icy water. Her heartbeat picks up lightly, autonomic functions switching on to a latent readiness not quite spilling over into alarm, and the most interesting thing about that is that these simple, ordinary things will be as clear to Apollonia as they are in any other transparent human being.
There is no burning black void inside of the body in front of her that veils its inner workings. There's only one occupant of this form, and her astonishment is giving way to bewildered irritation.
"You're going to have to be more specific," she informs the stranger, "And approximately seventy five percent less antagonistic. My name isn't Mercymorn, I haven't the slightest idea who you are, and narrow down the 'he'."
It was close to a miracle that she managed to make her way out to this rumoured social event. She'd had to get emphatic about human rights to association and free movement, as well as bring up how close to bloody raving she was getting already cooped up in the house full of skeletons and mythical creatures and God only knows what else, in order to restore a state of general calm about the idea.
She is, as she pointed out, a big girl. If she could survive the donor dinners, she can surely survive a cocktail hour.
(She has a feeling that she's not going unwatched, anyway. She tries not to think about that too closely.)
So it is that one odd evening she winds up seated on a high stool at one of the satellite bars at the party, tucked off to a less trafficked corner. She sits there in her clean white dress with her pale peach hair done up in a crown and watches the dizzying cavalcade of party goers sweep by, nursing a glass of white wine. Or, as the evening goes on, and her heels come to dangle off her feet by the tilt of her toes, more than nursing.
Her eyes are a pale winter sky blue behind her delicate glasses. They follow anyone who approaches her curiously, without a drop of the hostility that so often animates this particular oval face.
[it's a chance meeting, and mike doesn't usually do this sort of thing - it's too big, too flashy (his shirt would argue that point) but this month has been full of firsts (some of them good, not even horrifying at all, just weird) so here's one: mike attending a party that's not a party of one drunk in a shitty bar, or a kid friendly celebration obligation.
kismet he thinks as he spots her, though he's not entirely sure why - it's a writerish word, one that he hardly has any reason to use, but here it is, a fully formed thought that almost escapes his lips but doesn't. (mike holds his tongue. not quite a first, but it's not the usual.)
less trafficked is fine by him, and all the easier to irish goodbye later when he needs to, and he gets the feeling he'll need to.
he never got a good enough look at her in his right mind - the eyes, he remembers the get up and make the dead do the tango eyes, the whorl of hues and the crisp, cutting demeanor. a bit of a boon in his state - a straighten up and fly right that he'd needed. he doesn't want to think about what might've happened if he'd ventured up those sick, slickened steps alone. they're different now, those eyes. they remind him of a beach. and not a bad one.
funny, that.
so he returns the favor by sitting down, not too close but close enough to be heard should he choose to speak. he's a few drinks in himself, but strangely isn't feeling it - it's a pleasant buzz and he's no urge to go further. that's a bit of a new development, too.
she doesn't look as frazzled, as grim, or as dissappointed as she had when he'd last seen her (a world ago, a whole mike and a half ago) but that's all right. he's just glad he found her, and his smile says as much, though it's more to himself - he'll only catch her eye for a moment, mostly because he's unused to this sort of dynamic, and he doesn't want to fuck it all up.
his gaze drops to her feet - and a little laugh as he realizes the utterly normal boots of +2 comfort and +1 get your shit together mike, this is normal, you hear me? normal (at least +1)
At first, Ortus had been mildly baffled by Viktor's directions to the locale of the a purported hot springs 'spa', a concept Ortus feigned familiarity with for the sake of his fitfully expressed pride. He does not like to seem unworldly in front of his friend, however plain his unworldliness may be.
But he trusts Viktor, and this led to the turn in his feelings when he arrived in the general area of the docks, which - however stimulating they may be - do not align with his idea of relaxation. That apprehension in turn dissolved as he came closer to the final point, the air clearing of the reek of fish and sea to be replaced by a crisp winter wind. He had begun to recover himself, even to return to a prior state of optimism, when he reached the foot path to the doors of the well fashioned structure.
Then he had stopped, and he has not been able to muster himself to move. His attempts to conceal his hesitance ran thin ten minutes into fiddling with his Omni, and he is now reduced to staring at a nearby tree in the vague hopes an avian beast might appear in it so he may claim to be engaged in 'bird watching'.
It is terribly embarrassing, and his one comfort, as threadbare as it is, it that no one he knows has yet passed by to witness his inexplicable halt.
He knows what a bathhouse is, though he's never been. Being an Assassin is often an isolating affair, but some of his Brothers make time for recreation...
Altaïr relaxes best alone with a book. He had no plans to come here until he caught wind of a lead in one of his investigations. It could be nothing, or it could be Riteior's cultists gaining a foothold in Trench.
This is hardly like infiltrating a place he doesn't belong. He can be a legitimate patron. He arrives in a nondescript winter tunic with no blades in sight, stowing just a few he doesn't mind losing in secret places like his boot. He's prepared to walk right in like the others--mimicking their familiarity with the place and blending in, just like any other man.
Paul Atreides
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midoriya izuku
A number of things happen after that. He's nothing if not a swift thinker, and unlike his last iteration, he has the advantage of fortuitous solitude. They're minor errands, individually. Their impact in aggregrate remains to be seen.
None of them are as important as this next one. The man changes into a fresh black shirt, one that is too large for his teen frame but fits his more muscular maturity appropriately, and shrugs into a jacket he'll have to get let out in the shoulders. Another errand to run, in time.
What a quaint idea. Errands. It brings a slim, benevolent smile to his face as he examines himself and his freshly trimmed stubble (beard shed like old armour) in the mirror that he already knows as his. Satisfied, he steps away, into his shoes, and out the front door, his package and two letters tucked under his arm. The walk is a short one. In no time at all, he's standing before a door he saw yesterday, and nearly a lifetime ago.
He knocks in their accustomed way, to let the boy behind the door know who's come calling, and steps back, smile still gently fixed in place.
spoilers for his canonpoint throughout this thread
"Hey, Paul-kun--AHH!!"
The thick light smoke bursting out from Midoriya's entire body doesn't cause damage, not even a cough, but it obfuscates the retreating boy completely. His Omen, taking his place in a whirl of dark smoke, is not so harmless. They block the door with their body nearly the size of a car and stamp one hoof in a threat display. Wordlessly they demand proof of identity by a show of Paul's Omen.
"Who are you?!" Midoriya demands unnecessarily from what sounds like the living room. Paul's weird uncle who knocks on doors exactly like him?! Someone else in disguise trying to match Paul's appearance as best they can?! It doesn't matter that Danger Sense didn't warn him of anything. A loophole has been found before. Dealing with Himiko Toga made Midoriya more cautious. At least he's mastered Smokescreen enough to automatically reach for it at need.
spoilers for dune: messiah also throughout
"Paul Atreides," he says, projecting calm through his voice in unison with his Omen's more ephemeral effort, "A few years removed. Which security protocol do you want to use to verify that? Your choice." A minor beat. "But take a breath, first."
He knows he can pass all of them, down to the rotating and time-bound signs and countersigns. There's no reason to rush.
The hallway feels as well-known to him as if it hasn't been years since he saw it. The collision of time and space is something he's accustomed to navigating, but there's a certain novelty to this configuration of deja vu and recognition. Voices, for example. They have a peculiar closeness to them he wouldn't have guessed at.
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i am on the floor, rip me, i died as i lived
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daniel larusso and johnny lawrence
And he has resolved to keep faith in his older self's instructions out of loyalty, whatever peculiarities the names on the List manifest. You can't go around doubting yourself, after all, or how would you ever get anything done?
Paul swings his legs where he's perched on a high stool next to a counter in the kitchen (which is right next to the sitting room, and the bedroom, which is absolutely amazing) and runs his front teeth over his bottom lip. He doesn't bite, because that's a Fidget, and not good manners, but he very much wants to.
"Are you sure you've done this before?" He asks, as politely as he can, using his most proper accent and deferential tones.
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Apparently you just can't take that fussiness out of Daniel LaRusso, even when he's so much smaller - and so much more mouthy.
The latter is immediately shown off by the way Daniel lets out a loud, near-exaggerated ow! before glaring at his blonde cooking partner. (Imagine both of those last two words in separate airquotes.)
"Johnny, watch out where you put your arms! That elbow was right in my bruise!"
You know. That bruise that partially is Daniel's own dumb fault for deciding to just fight it out with Johnny earlier.
Though Daniel's temper seems to simmer down immediately the moment he realises the younger boy was talking to the two of them, his expression a whole more friendly when he turns to look at Paul, trying to do his best to put a Reassuring Smile on his face.
"Don't worry, don't worry! We totally know what we're doing." Just look at them. Two bonafide experts, if anyone's ever seen one. "You can count on us!"
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...Not that he had a good way of showing it. He's focused on the task at hand and just glares LaRusso's way when the other complains.
"Hey. It's your own fault for walking your bruise right into my elbow." It's a petulant response but- What was anyone expecting.
He then glances back to Paul.
"Besides? How hard could this be? It's just putting shit in a pot and letting it boil."
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cw: reference to consumption of domestic pet animal
this is not the kind of cw i expected to find in my inbox
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cw: rude words from child
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apollonia the first
Finding the same booth open is better than chance. He's smiling when he slides into it, setting up a bottle of clear liquor, a bottle of water dripping condensation down its throat, and two glasses in front of him. He arranges them just so, at angles he finds pleasing, and sits back in the booth's plush cushions to retrieve his Omni from his pocket.
His Omen emerges from his shirt collar. He brings his hand up to stroke gently behind her ears as she shivers.
🍎
I'm waiting for you. Take your time.
🐁
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She walks in and receives a few looks of her own, but it's easy to ignore them at this point when she has such a clear goal in mind. She stands still near the entrance and scans her eyes across the patrons. Though she has a perfectly functional memory and knows what her host looks like, there's a flash of recognition in the back of her mind that she's learned to understanding the meaning of, and she walks towards him.
"Muad'dib," she greets, her voice curt, and she slips easily into the booth. "I'm glad to see you here safely. It would be a shame for this to end before it starts."
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He doesn't ask before he pours for both of them. The liquor has a sharp, clean herbal tinge laid over the alcohol, and he mixes it with two parts water. His motions with the bottles are precise and controlled, each stream cut off without a stray drop lost down the neck of either. He slides her across the table with a smile that's curved like an invitation.
"We have a saying about beginnings back home. It's when it's most crucial to ensure all things are in alignment. Shall we agree on that point as we start?"
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M-
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john gaius | cw: body horror, vomit (non-graphic)
(We're together. We'll go together.)
She's been having a lot of bad dreams, these gritty, too-long days. She tosses inside damp, sticking sheets, peeling them off with her nails, wriggling like a wet new thing breaching its chrysalis.
(Take John alive. He's worth more to you alive.)
She mewls in her sleep, arching her back like a bow. The sheets slough off her calves, her ankles. They sting coming off, so stuck to her that they feel like a second skin. She ratchets hard with habitual tension, the overclocked engine of her that started chewing through nightguards at fifteen and never stopped, and it's terrible, terrible, unendurable.
She does not have to endure it. Something percussive happens to her chest, to her head, and she sits bolt upright with damp sheets still clinging to her, panting like a dog run out under the sun.
They're not sheets. She doesn't scream. She does vomit.
The next few minutes are unmentionable. She shoves through them impatient with terror, shouldering aside her distress in favour of action. She's always had a knack for that. It's with as much of the blood as she could scrape off on old, dark towels removed and her tacky hair pulled back that she descends the ladder from the attic on her bare feet, draped in a nightshirt that goes down to her knees.
She pads down the hall with all the silence sneaking out as a teenager could teach her, which is painfully loud to her ears, and she passes by the closed doors without opening them. It's the door that's open a crack she pauses at, peering inside to make out a blurry silhouette tangled in his own sheets - cotton ones.
She pushes open the door very carefully. She makes her way closer, to confirm her suspicions, and stares down at the sleeping body in the bed contemplatively for nearly fifteen seconds. She picks up the alarm clock from the side table and raises it up over her head.
She's got a good arm, too. Ask anyone who's ever interrupted her in the middle of her lab. The alarm clock clips the side of his head with a satisfying clunk.
"What the fuck, John!" She bawls, affronted, her pale blue eyes screwed up and gleaming with panicked outrage.
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She is a simple mass of thalergy, a human's worth of decay, her soul singular and bare. For a moment he can't understand it. His brow creases with incomprehension, and he shuffles up to look at her, shirtless and rumpled and staring.
He starts to say Mercy, and stops. His lips are still parted around the aborted name. He has gone very still.
Too late, and without conviction, he says: "Ow."
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With that, she throws herself knee first on the bed, bouncing only lightly before she snatches up the pillow not creased by his head and, for lack of anything harder, begins to punctuate her sentences with it.
"I said, what the fuck, John -" a blow to the chest "- why did I wake up -" she advances with an awkward, infuriated shimmy "- covered in skin -" a feathery thwack to the face "- after I specifically told you not to use your bloody magic fingers on me -"
Her shuffling forward through the mass of comforter and sheets has brought her close enough to slam the pillow against his bare chest with both hands, so she does, glaring so fiercely at him she's near to go cross-eyed, and that's when it's clear that on top of everything else that's so frighteningly askew, so is he.
The wave of her wrath crests and breaks. Her mouth screws up so hard her chin dimples as she glances from one orbital socket to the other.
"What happened to your eyes?" She asks, voice shrunken and unhappy.
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cw: violent gun death, existential dread
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apollonia the first
So it's been a difficult transitional period. Some of the discoveries she's made have been the sort of thing that once upon a time would have had her crouched in the corner of a room huffing into a paper bag. (Which she has done a few times, but that's neither here or there.) But that had been before the first difficult transitional period, and she's discovered (as usual) that she has a reserve of steel in her sufficient to tackle the challenge.
Even if today, the challenge is not dropping the mug of tea she just finished making for herself when there's a knock on the front door. She freezes in the kitchen, her heart tripping over itself all the way down her ribcage, and when hot tea sloshes over her fingers and dampens the hems of her over large sweater she curses fiercely and slams the mug on the countertop with the sort of force that always makes people concerned she's going to break something.
Someone else will answer it. She knows that perfectly well. One of the strangers here (some with the faces of her friends) will pop right off to get it, or leave it to one of John's awful skeletons. She knows she isn't supposed to. Something about the risk of it all, with her and her fragile and rather sad little human body.
But there are no footsteps on the stairs or in the hallway. The dreadful girls don't drag themselves out of wherever they might be moping. John doesn't pop his head around a corner. The other two don't slink out of hiding or bend down by the kitchen window to assure her of her staying put, snug and secure.
There's another knock. She pushes her glasses up her nose.
The front door opens shortly after. A short woman with a messy bun pulling back her pale peach coloured hair peers up at the visitor, her equally pale blue eyes made wide and bright by her wire frame glasses.
"Hello?" She says, with a briskness just shy of perfunctory. "How can I help you?"
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Finding the hilariously nicknamed "Bone House" isn't difficult. He's already made a name for himself, she thinks, her red hoop earrings irritating the holes caught in a perpetual state of attempting to regrow with each step she takes closer to his threshold. Her hair blows quietly in the chill of the wind, a television tuned to a dead channel hovering in the air so the long blonde hair almost makes her more obvious. She's stolen a hoodie from the wardrobe of someone she's heard actually belongs in this body, some drunkard bar patron mistaking her for this alliteratively annoying Anna Amarande, but the black turtleneck, a constant for the feeling of some thing too weak to matter trying to choke her, is her own.
Her footsteps crunch in a patch of snow that hadn't yet been cleared, and she raises a pale arm to knock at the door. Her weight shifts to the back leg, and she puts her hands in the pockets of the borrowed hoodie. John would love this space, wouldn't he? Not extravagant, not compared to some other places she'd passed on the way here, but clearly large enough to show that he has a following, that he has power. She detests it more than she has detested most things in the last fifteen minutes.
She's not expecting him to answer the door himself; no, God would have people for that. But she's equally not expecting to know the people whom God has employed, and the perpetual scowl lightens slightly. This woman's green eyes, ones that have never sit properly on her face, open wide. It's what will have to pass for a smile, but this person would know that about her.
"Mercymorn," she says, her tone flatter than her face would indicate. It's not quite her, but she supposes the reconstruction process was rough on everybody, if she's being mistaken for someone whose initials are the same letter twice. "He has you on door duty? And I thought aerosolizing your nervous system was punishment enough." It's going to have to pass for a joke. Her own glasses glint. "Well, where is he?"
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There is no burning black void inside of the body in front of her that veils its inner workings. There's only one occupant of this form, and her astonishment is giving way to bewildered irritation.
"You're going to have to be more specific," she informs the stranger, "And approximately seventy five percent less antagonistic. My name isn't Mercymorn, I haven't the slightest idea who you are, and narrow down the 'he'."
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snake den
She is, as she pointed out, a big girl. If she could survive the donor dinners, she can surely survive a cocktail hour.
(She has a feeling that she's not going unwatched, anyway. She tries not to think about that too closely.)
So it is that one odd evening she winds up seated on a high stool at one of the satellite bars at the party, tucked off to a less trafficked corner. She sits there in her clean white dress with her pale peach hair done up in a crown and watches the dizzying cavalcade of party goers sweep by, nursing a glass of white wine. Or, as the evening goes on, and her heels come to dangle off her feet by the tilt of her toes, more than nursing.
Her eyes are a pale winter sky blue behind her delicate glasses. They follow anyone who approaches her curiously, without a drop of the hostility that so often animates this particular oval face.
no need to respond, i just wanted to <3
kismet he thinks as he spots her, though he's not entirely sure why - it's a writerish word, one that he hardly has any reason to use, but here it is, a fully formed thought that almost escapes his lips but doesn't. (mike holds his tongue. not quite a first, but it's not the usual.)
less trafficked is fine by him, and all the easier to irish goodbye later when he needs to, and he gets the feeling he'll need to.
he never got a good enough look at her in his right mind - the eyes, he remembers the get up and make the dead do the tango eyes, the whorl of hues and the crisp, cutting demeanor. a bit of a boon in his state - a straighten up and fly right that he'd needed. he doesn't want to think about what might've happened if he'd ventured up those sick, slickened steps alone. they're different now, those eyes. they remind him of a beach. and not a bad one.
funny, that.
so he returns the favor by sitting down, not too close but close enough to be heard should he choose to speak. he's a few drinks in himself, but strangely isn't feeling it - it's a pleasant buzz and he's no urge to go further. that's a bit of a new development, too.
she doesn't look as frazzled, as grim, or as dissappointed as she had when he'd last seen her (a world ago, a whole mike and a half ago) but that's all right. he's just glad he found her, and his smile says as much, though it's more to himself - he'll only catch her eye for a moment, mostly because he's unused to this sort of dynamic, and he doesn't want to fuck it all up.
his gaze drops to her feet - and a little laugh as he realizes the utterly normal boots of +2 comfort and +1 get your shit together mike, this is normal, you hear me? normal (at least +1)
he doesn't say anything, beyond this:]
I never did get to say thanks. So ...thanks.
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altaïr ibn-laʼahad
But he trusts Viktor, and this led to the turn in his feelings when he arrived in the general area of the docks, which - however stimulating they may be - do not align with his idea of relaxation. That apprehension in turn dissolved as he came closer to the final point, the air clearing of the reek of fish and sea to be replaced by a crisp winter wind. He had begun to recover himself, even to return to a prior state of optimism, when he reached the foot path to the doors of the well fashioned structure.
Then he had stopped, and he has not been able to muster himself to move. His attempts to conceal his hesitance ran thin ten minutes into fiddling with his Omni, and he is now reduced to staring at a nearby tree in the vague hopes an avian beast might appear in it so he may claim to be engaged in 'bird watching'.
It is terribly embarrassing, and his one comfort, as threadbare as it is, it that no one he knows has yet passed by to witness his inexplicable halt.
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Altaïr relaxes best alone with a book. He had no plans to come here until he caught wind of a lead in one of his investigations. It could be nothing, or it could be Riteior's cultists gaining a foothold in Trench.
This is hardly like infiltrating a place he doesn't belong. He can be a legitimate patron. He arrives in a nondescript winter tunic with no blades in sight, stowing just a few he doesn't mind losing in secret places like his boot. He's prepared to walk right in like the others--mimicking their familiarity with the place and blending in, just like any other man.
Unless...
"Waiting for someone?"
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narrator voice: hubris
cw: internalized body shame, scars
missing all the emotional support quicktime events smh