Tuesday, October 8, 2013

Starbucks


Lena Reilly

Lena likes coffee.

Okay, that's an understatement. Lena lives for coffee. I'm serious. Have you ever seen her without some kind of caffeinated drink in her hand? Probably not. It doesn't happen, pretty much ever unless she's set it down and it's within reaching distance. If you ever wanna see someone go from zero to "ragingly pissy" in nothing flat, take the girl's caffeine away for a day or so. It's not a pretty sight.

And thus, we have her sitting outside a Starbucks downtown, her laptop open while a quad venti latte sits half-finished next to an empty double macchiato. She's got one headphone in her ear and the other one faintly thrums with an electronic beat as she works, looking over her mixing program and trying to figure out just the right beat.

Of course, she is aware still. The girl has some level of situational awareness, and a larger sense of situational Awareness. So the pretty-enough thing in a black Fall Out Boy tank top underneath the jacket, worn blue jeans and calf-high boots isn't completely oblivious even as she works.

[[Pre-emptive magedar! Spec: Uncanny Instincts]]

Dice: 7 d10 TN6 (3, 4, 6, 7, 7, 7, 7, 10, 10) ( success x 7 ) Re-rolls: 2

Kalen

[Nightmares]

Dice: 5 d10 TN6 (1, 5, 6, 6, 9) ( success x 3 )

Kalen

[And, do we notice Lena?]

Dice: 6 d10 TN6 (3, 4, 5, 6, 7, 8) ( success x 3 )

Kalen

Kalen also likes coffee. He'd prefer not Starbucks coffee, perhaps, but he has learned to take what he can get. And there have been times when he didn't have access to ridiculous imported espresso. He knows how to make do. This is, still, at least a step up from the sludge languishing in convenience store pots left on burners.

And so, into the Starbucks he goes. He pauses for a second and scans the place slowly. Once he spots her, Lena gets a wave, and then he proceeds to order coffee. He leans into the counter while he waits, fingertips tapping lightly over the head of his cane.

Garrett Franklin

Garrett is still new to Denver, though he's been here before on tour, for a day here, a weekend there. It's not enough, though, that time here and there with little time to do more than sign books and have dinner with other academics. So here he is, on a day off (for whatever reason a college professor might have a Tuesday off), exploring this area that's fairly close to the apartment he shares with his son.

There are Starbucks everywhere. And, though Garrett's not particularly fond of their coffee there's something to be said for being able to get the same drink consistently no matter where one is in the world. So while Lena is outside with her drink and her laptop, Garrett is inside ordering a chaider - which is to say hot chai in apple cider - which he then takes back out to enjoy whatever weather this new city is currently offering him. So he steps outside and there's scholarship, and renewal, and subtlety, and stability that rolls out from him in waves. As he's coming out, there's Kalen going in, and he stops the younger Hermetic briefly.

"Hey. Want to sit outside?"

Because of course he takes it as a matter of course when they run into each other, when mages begin to converge. It hasn't been a surprise to him for many years.

[Awareness!]

Dice: 7 d10 TN6 (1, 2, 4, 5, 6, 8, 10) ( success x 3 )

Lena Reilly

Blame it on the (alcohol?) (uh, no.) caffeine and the music flowing through her ears, but for whatever reason Lena's on high alert at the moment. Which means that she's been watching Garrett through the window since the moment he stepped within her senses, keeping her attention pinned more on him than on what she's doing. New people who ping her radar are always something to be cognizant of, especially since she started spending most of her time at the Chantry and thus she's not just risking herself. It's possible Garrett didn't notice the set of eyes on him, though he of course sensed her presence, that withering pulse that emenates from her like a chillwave beat with a touch of entropy in it. Either way, she's been watching him from her table outside while he orders his drink.

And then she senses Kalen coming close, that double helping of a storm. That probably doesn't help matters much, though this one is at least familiar to her. She looks from her observation of Garrett over at him as he waves, gives a faint smile and an upward tilt of her chin before she turns to--

See that they know each other, which neither helps nor hurts her assessment of the situation. She leans back, withdrawing a cigarette from her jacket and lighting up as she takes the earbud out and sits to observe for the moment.

Oh Lena. This is why you don't have many friends.

Kalen

Of course Kalen agrees to sitting outside, and before long he is back out to join Garrett. He sets his coffee down, then settles carefully into one of the patio chairs. They are not nearly as comfortable as the chairs inside, but outside is where things are happening. People are walking. And that DJ is out there too, which interests Kalen at least a little.

"How are you?" He asks Garrett, holding eye-contact long enough to ask the question before turning to give Lena a quick smile and a you-should-join-us look. And then he returns his attention to Garrett.

Garrett Franklin

The table Garrett chooses is near enough to Lena for easy conversation but far enough for comfort as well - so Kalen's smile is easy to send and receive, as is the smile Garrett gives her in response. He's amiable, this older gentleman, and has little trouble making new friends (most of the time. Sid is weird, to him), or meeting new people. He's not shy, in the slightest.

"I'm good, how about you? Doing better?"

Better than the last time they were together, when Garrett was basically making sure Kalen remembered to do things other than lounge on the couch for half a day - and of course Garrett knows he is, but there's still tones of concerned older relative there. Not quite fatherly, but too close to be much else. And during this, at some point, Lena gets a smile and a nod, polite, friendly.

Lena Reilly

She's quiet for a moment as they interact, pausing to let them do so as she closes down some programs on the laptop, saves her work. Just the pleasantries so far, she notes. But obviously they know each other, or of each other at the very least. And so that interests her, makes her want to know more. She's a guarded one, this Cultist, but she's also someone who seeks to know the world around her and that only comes with perspective.

Finally she shuts the laptop down and closes it, tapping ash into a tray on the table and setting the cigarette in it. She picks up the hyper-caffeinated drink for a swallow and then looks at the two, putting up a little smile. She has too much stuff to move without seeming like she really, really wants to, and she's not one to concede ground that easily anyway. So she leans over a bit and raises an eyebrow, smiling.

"Fancy running into you here, Kalen. Are you going to introduce me, or...?" Her attention turns toward Garrett then.

Kalen

"Yeah, I'm good now." He smiles, warmer and slightly longer than Lena is used to seeing. "Thanks."

And then Lena is coming over and he looks up and the smile changes into something more polite, his expression ever-so-slightly more guarded. But the smile doesn't disappear.

"Of course," he says to Lena. "Have a seat if you'd like. This is Garrett Franklin, he's recently arrived to Denver to teach all the college students. He taught me for awhile, years ago, so I know they're lucky to have him." Is that actual affection in his tone? It sounds like it. "Garrett, this is Lena. She's a DJ and I'm sure she is incredibly talented but I haven't quite managed to catch any of her sets yet." He glances up at Lena. "For which I do apologize. I've been distracted."

Garrett Franklin

"Ah. the DJ you mentioned. It's a pleasure to meet you, Lena," Garrett says as he offers a hand for shaking; it's a smooth, relatively soft hand with fingertips calloused not from guitar strings but from computer (or possibly typewriter, at some point early on) keys - if, of course, Lena takes it. Easy talking distance means slightly awkward shaking distance, but the forty-something professor (who is dressed in jeans and a white ringer shirt with a thought bubble over the word 'oxymoron' - and inside the thought bubble the words 'social science'.

"Maybe we should go together. If it's an all-ages show, we can invite Jacob. Though." This next is wry and amused, but not the bitter sort of wry - Garrett is a goofball, and in general pretty happy-go-lucky. "If I try to tell him it's a cool, fun thing, he'll know it's the opposite, no matter what it is." There's a pause, and then, "Jacob's my son. He's sixteen."

Lena Reilly

She's a bit curious at this person who, more than anyone she's seen him with, Kalen seems comfortable around. She guards herself, but it's the longing sort of guardedness of someone who wants to know more of people even if she doesn't venture close enough to the sun for her own wax wings to melt.

But then Kalen introduces them and it's a little clearer...it's someone from Kalen's past. A mentor of sorts, and that allows her to make some assumptions that may or may not be accurate. She regards Garrett with a friendly-enough smile that turns into a faint grin when Kalen says he hasn't managed to catch her shows because he's been distracted.

"Yeah, that's what they all say. You'd think we're not all just layabouts or something." The comment is tinted with humor, generally good-natured. She nods to the the older Hermetic and reaches over to accept the handshake. "Nice to meet you Garrett. And yes, you should. I do try and get at least one all-ages appearance in a weekend. I always hated it when I would go out clubbing as a teenager and all we had was some kind of terrible pre-mixed house crap. I'll give Kalen my schedule for the next few weeks, I'm all set up through Halloween."

She leans back so she can take a drag off the cigarette and then stubs it out before looking back. "You're teaching at one of the schools, then? Right on. I kind of regret not going to college sometimes, just for the experience at least. But what I do isn't something you get better at with classes; it's all about learning through experience."

Kalen

Kalen laughs, leaning back into the obnoxious metal patio chair and laughing. "Don't say things like that around Garrett, it's dangerous. The next thing you know, you will somehow be enrolled in school and learning a new language while simultaneously being roped into horizon-broadening trips around the world." He grins. "Okay, on second thought, do. It's a good time."

His attention strays back to Garrett. "I'll just tell him I'm going with you and he wouldn't like it anyway. And then he will do that, 'fuck off, Kalen, he's my father not yours' thing that he does, and I'll yell back at him, and we'll be fine, but you'll make that frown you make when neither of us is matching your definition of civil, and then we'll all go see Lena." The corners of his mouth keep trying not to flick up into a smile, but he can't quite manage a proper bored and disinterested tone with Garrett. Even an affected one just for show.

Garrett Franklin

"That . . . sounds about right, actually. When did I get so predictable, hmm? Once upon a time, I was a wild man. Back when I had to walk twenty miles to school, up hill both ways, barefoot. While hiding from the dinosaurs." Yes, he's joking. No, he doesn't think he's old, nor is he neurotic about his age. As far as mages go, Garrett is downright well-adjusted.

"And, while Kalen exaggerates, I am quite the advocate for higher education. If you find yourself interested, feel free to let me know - I'll see what we can do to get you in the classes you want. And also, new languages and trips around the world are fun, thank you very much."

It's light banter, so much amusement and pleasure just to be where he is, in the company he is. He's a relatively simple man, all things concerned.

Lena Reilly

She chuckles a little at the banter between the two, though she shakes her head when Garrett offers to help get her in classes. It's amicable enough and even friendly for the moment, despite the polite refusal suggested in the motion.

"I appreciate that, but no. The only thing that I really feel like I missed out on is the college life experience, and I'm very well past that at this point. If I ever get the desire to try out a dorm though, I'll let you know."

She sips her gaze between them a moment, her weight leaning forward on her elbows which in turn rest on her knees. "So have you made the rounds of meeting people yet?"

Kalen

"In the snow," Kalen leans in and mutters to Garrett, just loudly enough for Lena to hear. "On account of it still being the ice ages or something." He settles back again after that to let Garrett answer Lena.

He watches them both a little, and the people passing by them on the street, and the cars and the...well, Kalen watches everything. Even right now, when he's as relaxed as Lena has ever seen him and he's playing with Garrett. Even a passing helicopter gets a quick evaluation glance. Even so, he's still drinking his coffee, and there is still a slight lingering smile, so whatever else he may be doing, he does seem to be happy enough here.

Garrett Franklin

"Right, right, how could I forget the snow!" It's overblown dramatics, of course, and an interesting thing about his face is that it's nearly rubber-like in the expressions it makes. Also, when he's playing like this, it's impossible to catch him blinking.

So there's Lena asking about who he's met, or rather if he's met anyone, and Garrett thinks for a moment before saying, "Not anyone with full introductions or anything. But I met Sid, briefly, and Trent, but that's it. I haven't been out and about that much, yet - between getting settled in at the new university and getting my son settled into his new school and dealing with his acting out, I haven't been out and about that much. So you're one of the first few, and already I think this meeting is going better than that other one." And Garrett was no less congenial then than he is now - he'd just been presented with something curious, then, a case study of sorts, and hadn't been able to resist the impulse to learn more. Now, as far as he can tell, everything is on the table.

Lena Reilly

She smiles when Garrett mentions Sid; the fondness there is obvious from the Ecstatic. Trent gets vague recognition but nothing more than that; she's heard about him in association with the business with the film, and she knows his Tradition, but hasn't learned much eyong that.

"I get that," she says with a nod. "When I first got here I largely kept to myself while I settled in, and that was only partly because I'd not met anyone yet. Even after I met Sid I kept myself to the sidelines for..." She purses her lips, and then shrugs and smiles. "Well, far too long actually. I've only in the last month or so gotten around to getting involved."

A quick glance goes to Kalen then. He was there when she spoke with Shoshannah about becoming more invested in the mages of Denver, after all. It's a brief look at best; she's still not in any way sure about the younger Hermetic for reasons that are kept entirely her own. And then she's got her gaze back on Garrett. "So yeah, it's still a work in progress for me."

Kalen

"Well, I can introduce you to Grace, but other than than that about everyone here you've already met or I don't really know or they don't like me." He huffs a little, smile melting into a smirk. "Imagine that."

A real smile comes back though, when he looks back at Garrett instead of at everything in the world in general. "I bet they like you better if I don't introduce you though. Guilt by association and all." If people not being into hanging out with him actually bothers him, there is certainly no indication. "I was always a results person more than anything. And with what we do, or at least what I do...c'est la vie...." He shrugs.

Patience Mason

[Per+Aware]

Dice: 5 d10 TN6 (2, 2, 6, 9, 10) ( success x 3 )

Patience Mason

[Drive]

Dice: 5 d10 TN6 (3, 7, 9, 9, 10) ( success x 4 )

Garrett Franklin

"They'd like you better if you weren't so intent on remaining aggressively closed off, I bet," Garrett returns, and it's in those same nearly paternal tones with which he'd asked if Kalen was doing better; there's concern, and care, and more than that. However these two met, it's pretty obvious that they know each other quite well now.

"But really, everything's a work in progress. If there was nothing new to learn and no knowledge or understanding to refine, what would be the point?"

Lena Reilly

Kalen's comment about people not liking him draws a quick look, but she leaves it there because he's good-natured about it. Lena's one of those people who are on the fence of course, but on the fence is different than 'don't like.' And more to the point, Kalen gives a little explanation that, if not much into it, at least gives her a little insight. She understands 'results person.' Some people just aren't the most open and she gets that.

And then, Garrett accuses those people who don't like Kalen of remaining aggressively closed off and that draws a raised eyebrow and a stifled chuckle. "I'm sorry," she says, and she seems to mean it. "I'm honestly not trying to start an argument here. But at least to my knowledge, the people who are...not entirely sure about Kalen or have issues with him do so because..."

She looks to Kalen now, because she doesn't want to talk about him like he's not there. "Well, because you're rather aggressively closed off yourself. Which I'm not judging, really. We all have our reasons. I'm just pointing it out because--well, I don't even know, maybe someone's said it. But if not, at some point it's gotta be said."

Patience Mason

Starbucks was about as mundane as one could get, with its unified branding image, its beverages which changed in quality only because of the skill of the barista making it. One would think that such place would be anathema to the awakened mind.

Wether this was true or not was a moot issue as several magi stood just beyond the realm of coffee and treats enjoying the warm desert air. Patience for her part rarely went to such coffee houses, be it out of preference or simple convenience it didn't matter. But passing by such places? Well that was all but impossible to avoid. The Etherite's presence is first telegraphed by the complex whine and rumble of an engine. The machine which she rode was much like its rider, it seemed to have been made for another time, for an era now long past or not yet upon us.

Long and sleek the motorcycle which came into view spoke of an art deco ascetic with a paint job of deepest blue and trimmed with chrome, the seat was wide and comfortable, made of a well worn leather that spoke of continual, and loving use. The rider herself wore riding leathers, a pair of knee high leather boots with a solid heel, and a leather jacket reminiscent of an old barnstormer's jacket.

She cut through traffic quickly, efficiently, and as she did so the tingle of the awakened presence drew those ocean blue eyes to the small group next to the starbucks. She didn't even cut the throttle as she cut through a perfectly sized space of traffic void, and into the outer lane, the bike sliding into nearest parking space in the similarly smooth motion. That done, the engine fell into silence as Patience cut the power and leaned back in the seat, her eye's falling on the others as a small, polite smile crossed her lips.

Lena Reilly

[[Delete everything out of that post after the first paragraph. I hate the font size of the chat and didn't read the post right.]]

Kalen

[[Well. It's not like I haven't done that already today. :)]]

Kalen

"Garrett," Kalen says, and his voice is gentle, but there is just a hint of a warning in it. "You know what I used to do. It's not just me. I don't make anything easy, but even if I'd come rolling into this town with another face I think we'd still be here. Or close enough to here. And what woul-"

He breaks into a sudden, grin when he sees Patience, the warning note completely vanishing from his tone and his eyes losing that slightly narrowed look. "Hey, Firefly. How've you been?"

Garrett Franklin

"Kalen," Garrett says, and there's no warning there but there is a raised eyebrow; he's fatherly and easy-going 98.75% of the time (unless you ask his actual son, in which case you'd get an entirely different assessment), though there are a few things that will get that step back and raised eyebrow.

He is Hermetic, after all. And Quaesitor, at that.

But it's all let go with the new arrival, who gets a smile as friendly and open as the one Garrett gave Lena upon their meeting, which is only different from the smile Kalen gets in that it's not so familiar, bordering on intimate. "Hello, Miss."

Lena Reilly

Patience MasonShe's quiet for that moment, as she seems to get a brief inside into Kalen and it intrigues her. The question of what he used to do, Garrett's raised brow...it's all pieces of the puzzle that Lena can't help but start to try to put together, sizing and comparing with the other jagged pieces she has to see what fits where and what image is starting to emerge. She's a discerning sort, similar to Garrett albeit perhaps a bit less direct.

But those pieces are thrown back into the shadows and she just gets a glimpse before Patience shows up, and hyper-aware (at the moment) Lena snaps her attention over to that woman with a sudden, enthusiastic smile. The Ecstatic quite likes the strange woman, this much is clear, and she rises as Patience walks over with a warm expression.

"Hey, you. It's nice to see you. You're looking good. How're you doing?"

Patience Mason

The helmet Patience wore was old and made of a flexible leather with expanded pockets around the ears. In normal circumstances one might wonder how the hell someone would be crazy enough to wear such flimsy protection while riding a motorcycle, but Patience was of the Son's of Ether, and that could mean her helmet might well take a tank shell before giving...one never does know.

She'd managed to draw her helmet from her head as they began their greetings, her dirty blonde hair falling about her face in a messy mane of helmet hair, no victory rolls toda. [it just wouldnt fit, no matter how much bigger on the inside she made that helmet]. She slid one leather bound leg over the side of the motorcycle and rose to her full height, made slightly higher by the extra bit of heel on her boots.

"Appropriately sociological and intro-cultural affirmation's and verbalized activation's to your individualized personages." She said casually with a wave of a leather glove before she moved to pull it free with her other hand. This freed appendage is held out to Garett, the singular new face in the group whom Patience had yet to meet, and the polite smile became a little warmer, her eyes open in interest as she took in this new factor in her existence.

"My parentologically assigned index assisted by heritological factor's is Patience Mason, this is a direct acknowledgement of your ratification and indexing as an individualized personage within the concurrent temporo-reality stream as actualized by my noospheric field." She said warmly, apparently pleased.

She then turned her gaze to Kalen with a nod, if perhaps a quizzical look upon her features as she replied. "The negatively aligned temporal framework within the active stream has been nominally utilized and existed within Kalen." She said pleasantly, before the confusion returned and she inquired. "Please extrapolate and identify the use of the laymen index for Insecta Coleoptera Lampyridae." She looks over her shoulder as if to examine her back before looking at Kalen once more. "The gluteus maximus of this biological structure has not initiated a chemical reaction with which to produce sufficient lumen's with which to attract appropriate nutrient items or replicative co-organisms."

She looks at Lena and returns that warm expression before inquiring. "Lena, this bio-physical structure continues to operate and facilitate actuality of the noospheric field within nominal ranges given for known frotean anomalies, however at this particular temporal juncture would you assist in deriving the meaning of Kalen's verbalized statement?" She asks, tilting her head back to Kalen curiously.

Kalen

And Kalen, who spends most of his time trying so very hard not to look like he care about things pays real attention to Patience. He has to, after all. It pulls some of his focus off of evaluating everything around them for threats, but that seems to make him calmer instead of more anxious.

His head tilts a little and he can't help but smile when Patience is so baffled by her new nickname and then she speaks in all the puzzles and it may be the best thing that has happened to him all day. "Because you have that glow," Kalen says to Patience. "And because I find your presence is something I'm fond of. So you get another Name from me. I'm sorry if it confuses you."

Garrett Franklin

"My parentologically assigned index assisted by heritological factors is Garrett Franklin. It's a pleasure to drift into your noospheric field, Miss Mason." This is given easily as Garrett rises to shake Patience's hand; he's considerably older than his companions, Garrett is, clearly in his 40s as he is.

"Kalen Names people - usually only people he likes. Consider yourself fortunate, Miss Mason." And he says it genuinely; he clearly holds the younger man in high esteem. As he's saying this, he's adjusting chairs so Patience can join them if she so desires - it's polite and gentlemanly, as Garrett tends to be.

Lena Reilly

She was ready to answer if neither Kalen nor Garrett did, but they both contribute in a way that should give the agestuck woman a satisfactory answer. And so she settles back down, taking out another cigarette. She really, really shouldn't smoke but you have to allow her a few vices; so many others have been cut out throughout the years, except in special situations or emergencies.

"Oh, you only get nicknames if Kalen likes you? Explains why I'm still Lena, I guess." She says it with a little grin, no serious hurt behind it. Patience's presence is like that of Sid's or Shoshannah's; it relaxes Lena. Those three are like her version of Kalen's Garrett, basically. She lights up and leans back in her chair, crossing one leg over the other.

Patience Mason

Kalen offers his own answer to her inquiry, and then to her delight she receives collaborative information from Garrett and Lena, which only verified the initial statement and the etherite gave out a gentle chuckle as she nodded. She watched as Garrett made space and she nodded her thanks, but turned her gaze towards the coffee shop with obvious interest.

"Such factor's and data were within the established internalized thesis. However extrapolative interrogation and collative acumen was necessary to come to a suitable conclusive reading beyond 80.531 percent." She turned bodily towards the shop then and stepped towards it, a finger raised to the door as she said.

"Allow several temporal units to pass until the re-materialization of my bio-physical structure, at this temporal juncture complex carbohydrates are a suitable nutrient derivative to augment and fuel this bio-structure." She said, stepping past them all and into the store.

[Sorry guys, lifes getting in the way and imma put Patience in limbo [starbucks] until i can come back, which hopefully wont be to horribly long. :( ]

Kalen

"I also have to know something about you. So there is that," he says to Lena. "Sometimes I just don't know." It's hard to tell if that is an offer of general supplemental information or pointed supplemental information.

He nods to Patience. "Of course."

Garrett Franklin

And there's Garrett's phone giving off the TARDIS vworp sound - he pulls it out, checks it, sighs. "My son," he says, giving attention back to his companions just in time to give Patience a little wave as she goes in to get her drink. "Apparently, we have no food in the house and I have to go pick up the Chinese he ordered. "it was a pleasure to meet you, Miss Reilly - I'm sure we'll see each other again soon. "Come over if you're hungry, Kalen. Jacob always orders too much."

And with that, Garrett's up and heading out, giving polite nods, waves, and the like.

Lena Reilly

"Ahh," she says to Kalen, nodding a little with a faint smile. "Well, any time you wanna quid pro quo, feel free."

It's a friendly enough statement, but a pointed one too. If he's not going to trust them with details about his life, she's not willing to do the same. Trust engenders trust.

Kalen

"Some other time," he says to Lena. "And, perhaps more notably, some other place. It was good to see you." He rises and heads off with a small smile and a wave.

Lena Reilly

She watches Kalen head off for a moment, then smiles and shakes her head slightly. Some other time, he says. She rather doubts that. She knows people with walls and she knows delaying tactics.

Still, he may surprise her. You never know.

Kalen gone, she looks back to her laptop and flips it back open, opening up her email to look over her latest samples for remixes as sent by fellow DJs while she takes a drag of her cigarette.

Patience Mason

Patience took a while, it was easily a good fifteen minutes before she returned from her adventure into the Starbucks, and when she returns she seems slightly flustered, her lips are drawn slightly downward as she approached the table and found it to be largely empty. This admittedly surprises her, and as she approaches the table with a small coffee cup in hand she inclines her head and asks.

"What relativistic abberation in the socio-cultural allignment and dissertation actualized and imparted the departure and movation of the individuals indexed as Kalen and Garett?" She inquires, seating herself in the chair that Garett had pulled out for her and looked about curiously.

Lena Reilly

She looks up from the computer screen, chin resting on her propped-up hand, and smiles to Patience when she comes over, babbling in that way that isn't babble at all. Lena, for whatever reason, finds herself surpremely comfortable around the other and when she asks her question there's the usual focused look as she translates in her head, gets the meaning of what Patience is saying.

She's got it figured out (like she often does) by the time the unaging Etherite finishes speaking. "Oh, Garrett had something come up involving his kid, and Kalen..."

She sighs, looking over her shoulder as if she could spy Kalen leaving, even though he's been gone for a few minutes now.

"Kalen was being Kalen. There is something seriously not right about that boy."

That boy, saiid the twenty-four year-old. But Lena's lived enough for more than a couple lifetimes, and when you're on borrowed time everyone seems young.

Patience Mason

Lena was aged and wise by dint of experience, and Patience...well Patience existed within an entirely different scale of age and time. You very rarely come across the like of her, even in the community of magi as it was. Regardless of this Lena calls Kalen a boy, and Patience smiles, a gentle laugh escaping her lips as she responds in her way.

"Every individualized personage that I has ever been actualized and indexed by my noospheric field would by temporal relativistic framework be classified as a pre-pubescent youth." She held her cup in her hands for a few moments before setting it on the table and reclining in the metal chair, crossing her leather bound legs gracefully and taking in the area about them as she undid her coat, pulling on the big brass buttons to let some air in.

"Thus far I have encountered little aberrant or negatively aligned socio-noospheric defects or idiosyncrasies in the aforementioned personage, would you be willing and capable of divulging and extrapolating upon your verbal dissemination Lena?" She inquires, ever curious despite her age.

Grace Evans

[Awareness! I need a reason for Grace to appear in a Starbucks!]

Dice: 4 d10 TN6 (5, 8, 9, 10) ( success x 3 )

Lena Reilly

Patience's observation that they're all old compared to her draws a bit of a grin and a chuckle, before she leans back and presses Send on an email. The Ecstatic finds amusement there, and she nods to concede the point.

"In this life, sure. That all gets fuzzy when we go beyond that....but I'll give you that one."

She sighs a little bit and puts the smoke back between her lips, drawing the carcinogenic smoke deep into her lungs and exhaling it through her nose as she considers Patience's question about Kalen. There's a moment where she hesitates, like she doesn't know how much she wants to say. There's risk in revealing things like this because it tells people about who you are, something the Ecstatic has largely avoided. But she gives in to the question and shrugs, ashing into the tray at her table.

"I don't..." A pause as she aborts that line of thought, and then she starts again. "Kalen is someone who holds onto who he is very tightly. And I'm not talking about who he was. I don't mean stories of his past, though there's that too...I don't mind that. But he is very, very careful about not giving a shit about anything."

She gives a light shrug, taking another drag of smoke. "I have problems trusting people like that. And I don't like the way he treats one of my friends, either."

Grace Evans

Grace is not here for coffee. It is a Starbucks. This kind of place sucks the soul out of you, she thinks. As Gadfly would say it, this is how they get you -- the preservatives.

And the network of coffee shops so thick there's one on every corner. How convenient. How unnerving. It's a symbol, yes? And not of the mermaid with a split tail variety, but one of hegemony. Like how that mermaid became less and less female, less and less subversive as the brand took shape to conquer the world in caffeinated capital.

No, Grace is on her bike, on her way home from somewhere else when she feels it. Lena comes through first, that rhythmic wilted something, followed by another, less familiar presence. And, well, there they were, right? The two sitting there, one she recognizes as Patience (but the name "Robot-Voice-Woman" admittedly comes to mind first) and then Lena, and it would be rude not to stop, right?

Even though this is the Coffeeshop of the Beast. Ugh.

She walks her bike up to the outdoor tables, and lays it against the wall of the building. "Hey guys! Girls! Whatever... Ah, what's up?"

Patience Mason

Patience listens to Lena's words as she pulls the lid off the top of her coffee cup and gives it a sniff, her nose wrinkles a little with each intake of air, and then in the end those full lips turn downward a little. But instead of going into the store to grab some sugar or milk, maybe some of that artificial sweetener [heaven forfend] she reaches into her pocket and pulls out what might look like an elaborate wand, made of a machined metal and furnished with lacquered wood the thing is finely crafted and about an inch thick and five inches long. She nods as Lena spoke and once again frowned slightly when Lena spoke of the way he treated someone.

"Further extrapolation would exemplify and articulate this intrinsic defect within his socio-noospheric reflection. As this individual has yet to actualize any negative data utilizing all available relativistic sensory input. His nominal demeanour has been that of the standardized status of pleasant, attentive and interested." She stated in a 'please do go on' sort of tone as she pointed the wand into the cup, placing the tip as close to the black substance as she dared.

"Activating meta-scientific apparati, please be actual." She said as she rotated a tiny silver ring near her finger, and a solid beam of light could be seen stabbing into the drink, and she made to stir it as if the wand were a stir stick.

It was at this point she looked up and nodded to Grace as she arrived, a friendly look upon her features as she stated.

"At this temporal juncture Lena is verbally disseminating fact's and data points relevent to the personage indexed as Kalen, in addition I am concurrently utilizing this device to isolate, and neutralize all undesirable and non nutrient baring deviant molecules."

[Arete]

Dice: 2 d10 TN4 (1, 9) ( success x 1 )

Patience Mason

[Extend for funs]

Dice: 2 d10 TN5 (1, 8) ( success x 1 )

Lena Reilly

Starbucks may be the Coffeeshop of the Beast, but it's still a source of caffeine. In Lena's eyes, that makes the chain a necessary evil in the world. After all, you can only do so many energy drinks in order to get her favored drug of choice and it offers a place to sit down and work...and the Ecstatic doesn't worry too terribly much about her mixes getting spied on by the Technocracy.

She looks up, noting Grace before she gets close due to her hyper-awareness at the moment. The deejay gives a bright smile and waves as Grace walks her bike up. "Hey, you. Fancy seeing you here. How's it going?"

She smiles a little bit when Patience explains (in her own inimitable way) what exactly is up. The use of the Effect pings off of the Ecstatic's consciousness and she looks at the little beam of light in the cup curiously. "Wow...interesting." They all have their different ways of doing what they do, and Lena finds some interest in seeing how Patience works her magic.

"What Patience said," Lena says to Grace, and then stubs out her cigarette and gestures to a chair at the table. "How about you? Everything going well?"

She glances back at the unaging woman then and gives a light shrug. "He's not a bad guy, I don't think. He just...has one of those personalities that I react poorly to. I'll get over it, he'll relax a little bit or we'll get into a shouting match that blows off a ton of steam. I don't dislike him, I just..."

She shrugs. "It's my issues as much as it is his, I suppose."

Grace Evans

Grace kind of does a 'woo' look at Patience's stabby light wand thingy. "Well, I would't want to be a nondesirable deviant molecule right now, I am thinking."

"Hmm, and why are we gossiping about Kalen?" she asks, swinging a chair out like she was already invited to do so. Listens, as Lena goes and talks about the guy, and then goes a bit silent. Digs a bit into the table with her fingernail. Looks over Patience's wand again, you know... not really there.

'Cause Kalen's a friend. And that's a bit uncomfortable. What to say?

"He's a bit standoffish at first, I know..."

Patience Mason

"As previously disseminated, I as an individualized personage have encountered no such negative behavioural cue's or attributes, however It is through thorough understanding of an individual through multiple test groups and data quotients that one is able to ascertain a more efficient psychological and sociological profile of the afformentioned individual." She shrugs, as if she meant nothing by it.

She finished working her magic on the coffee and tucked the wand/laser away as she took a moment to sniff the coffee once more. It was then that she smiled and picked it up, taking a careful sip of the drink as she considered the others, Grace in particular in this moment.

"What data are you able to contribute to ascertain and actualize a more thorough and effective profile?"

Lena Reilly

She looks a little apologetic at Grace when she seems uncomfortable with the topic. The last thing she wants is to put people in a difficult position and Grace's reaction, her question and comment suggest that going further down this road of conversation will put her in that very spot. So she shakes her hand and then smiles.

"We weren't, really. Kalen was here and left, Patience picked up on my wierdness about him and asked about why I felt that way. I was just explaining my own personal thoughts and reactions to him, not anything about him or anyone else." She smiles, very faintly. "It's fine, like I said, it's a me thing. I have trust issues that he spikes up. Not much more than that."

Then Patience asks Grace what she knows about Kalen that may help her form a more detailed picture, and she shakes her head. "Probably best to change the topic. I don't want to make anyone feel uncomfortable." A sigh, and she smiles. "What's new with you guys?"

Grace Evans

Grace glances over at Lena, and the first thing she wants to say, she doesn't. Kalen's teaching her how to shoot, and that's new, right?

"I... ah... not much I can say really," she responds in code. They're outside in public, after all. Going on about business wouldn't be right. "But you know, schoolwork. I'm definitely busy."

Patience Mason

The topic derails, it seems discussing Kalen was no longer a viable topic, and Patience sits there for a few moments finding the knowledge she had gleened to be considerably less then she had hoped. She taps a finger against the side of her coffee cup and quirks a lip contemplatively before she looks towards Lena and offers a casual shrug, a sure sign that not a whole lot was up.

"I have been utilizing available temporal units to process, plan, manufacture and maintain the Aurora." She says, a small smile creeping up onto her lips. "Projections based upon the current rate of raw materiel acquisition and the available temporal units to this individualized personage indiciate an estimated ten solar rotations before the Aurora is ready for movation beyond the immediate geographical locality of the landmass I have acquired propertiorial rights too."

She looks over at Grace then and inquires. "Have you ascertained any further forward movation within your chosen and active thesis?"

Serafíne

Perception + Awareness

Dice: 7 d10 TN5 (1, 2, 5, 5, 6, 7, 7, 10, 10) ( success x 7 ) Re-rolls: 2

Serafíne

So it is eightish on a Tuesday night and that means Sera has been up for maaaaybe four or five hours. So, noonish for her. That means it is legal to start drinking, though she may well have started when she woke up. A bit of whiskey mixed into her Darjeeling while she eased her way out of an acid hangover and waited for Dan to descend and cook her some French toast with that loaf of brioche Dee brought home from the bakery. They don't get good bakery stuff on the weekends these days because Dee's always traveling right now for Derby playoffs and Derby matches and Derby things, and it is a good thing they have only been sort-of working lately, or they might actually be gigging on the weekends, instead of just spottily during the week.

--

But, eightish. Well past twilight now though there is a glimmer of sunlight against the spread of the western mountains, visible in places where the downtown core cuts away, at intersections, in parks, giving a straight shot over the low-rise sprawl to, yeah, those fucking mountains. Two people outside with their arms flung around each other, and they both look way cooler than you ever thought you could. Dan's wearing skinny black denim and a t-shirt from their old band and a beanie over his blond hair and a black hoodie, unzipped, the cuffs shoved up his forearms to reveal his tattoos. He is tall, well over six feet, and he has an arm slung over Sera's shoulders.

Sera is wearing a short red cocktail dress with spaghetti straps over black thigh-high tights that have that torn-to-pieces look because it is awesome. Instead of spike heels, combat boots. They have a bit of a platform, maybe two extra inches, but nowhere close to her usual magickal five or six extra inches. They are out walking, see. She has her arm around his waist and her hand tucked into the back pocket of his jeans and they're talking about something, sharing the intimate laughter of old friends along with a silver flask and you may think they are just passing by but,

you would be wrong. Sera felt them all from a half-fucking-mile away.

He holds the Starbucks door open and she slips under his arm and in they come. Headed in a pretty direct line past the counter toward the three other mages.

Lena Reilly

[[They're outside. =) ]]

Serafíne

(delete last line!)

Lena Reilly

The conversation tapers off without Kalen to talk about, and that just makes Lena feel a bit more uncomfortable. She listens to the two women's responses--Grace has school, Patience has been working on that project which is rather crucially important to her. Lena is an Ecstatic and as such has an innate sense of time; still, she has to do a little thinking to connect ten solar rotations to the right period of time.

"Oh, cool. Is that...more or less time that you had initially thought?"

She goes a little quiet after that, letting the Etherite and Virtual Adept talk about their schooling. It's a topic that Lena had broached in regard to herself with others before either of them had arrived; she never attended school herself, but kind of wishes she'd had the college life experience. Outside of that, she doesn't regret not going.

And then her attention shifts as she notes Sera's presence. As hyper-aware as the red dress-wearing Ecstatic is, the jeans/tank top/jacket-wearing one is equally so and they sense each other right away. So she's looking down the street as Sera and the guy she's arm-in-arm with come up, already raising a hand to wave well before most would note someone recognizable. She waits quietly for her Traditionmate to arrive, offering both her and Dan nods.

"Hey, you. And hi." The first to Sera, who she knows (if not closely yet), and the second to Dan who she hasn't yet met.

Grace Evans

"Ahh, it goes slowly, Patience. There's also classes to go to and homework to do, and..." Oh who is she kidding? The mental programming makes that fairly easy. One half of the brain focuses on class, the other half does homework, and she can read twice as fast now and still understand it. "Well, actually, it's not that. There is just a lot more going on."

A lot more sleeping, for one. Though that feels, to her, like sloth itself. To be honest, she's a bit down on herself for not making much progress in that particular area, and is making excuses.

"I have given some thought to what you said, but I still think it wouldn't work, for the same reason I had before. I'm a graduate student in computer science. At some point, someone would straight out ask where I managed to become a biologist of all things, and how I knew what to put in the sim, and therein lies the problem. I can't say. I cheat. That's all there is to it."

Grace does not feel Sera coming from a mile away, or even a half-mile. But she does feel the addition of that resonance, yes. That drawing, aching sensation. And it draws her gaze straight to the lady in red, even if she has to twist her head to do so.

Patience Mason

Patience listens to Grace as she explains her situation and Patience understands, at least in some manner she does. So she offers one little piece of advice. "Acquiring appropriate source data and expertise to assist in correlation of the afformentioned data would be considered standard practice for such thesis actualization would it not?"

She makes this offer in a round about way before looking up to Sera as she approaches, a warm smile upon her lips as she nods to the woman the man with her. "I must depart from this locality at this juncture, however Sera, it is with mathematical certainty that my noospheric field actualizes your concurrent and continued nominal status." She rose then, looking to Lena and Grace.

"Similar statements are at this juncture transferable and impressionable upon your personages as well." Smiles offered to each of them as she starts to put on that leather helmet of her's and offering her seat to either Sera or her fellow.

But then she's on her way, moving towards her art deco motorcycle just a few feet away.

[Sorry guys, gotta crash here thanks for the scene!]

Serafíne

Sera's the one with the flask in hand now. She is halfway through the motion of capping it. Or uncapping it. One or the other, and it requires two hands so as the pair of them amble up to the outdoor table where the other magi have congregated, well, Dan has his arm around Sera's shoulders, and both her hands are occupied. Sera tips the flask outward towards the other women, offering it around.

"Hey!" to Lena, and

"Graaaaaacie," to Grace, reaching out to touch her somehow. Ruffle her hair maybe, and

"Chica," to Patience, "you are the fucking limit." With the bemused and ironic but deep affection of someone for the world's largest ball of string, or the monorail to nowhere, or or or -

--

She is not sober, Sera. It is more than booze.

--

"This is Dan," Grace and Dan have met, so the introduction is for Lena and Patience. "He's Cool."

Then she looks up at Dan, just beaming. Like she invented starlight, or at least the Irish car bomb.

"That. Is the robot-talking lady."

Lena Reilly

Lena gives a smile and a little wiggle of the fingers when Sera introduces Dan, the expression friendly. A friend of Sera's is a good start as far as she's concerned, doubly so if Grace knows them. "Hey. Nice to meet you." She amiably waves off the offer of the flask and instead reaches out to tap the nearly-empty quad latte next to her laptop.

"I've already gotten semi-close to needing another one, hon. And I try not to combine my vices," she says with a half-grin. Says the girl who is always on caffeine and yet smokes. "At least, not too terribly much."

She leans back, gesturing to the open seat vacated by Patience (and the one next to it). "Join us. How're things with you? We don't hang out nearly enough, you know that?" She's just naturally more at ease around members of her Tradition (not surprisingly, of course).

Grace Evans

Patience says, 'So, get help from a biologist,' or... well, you know. That's what it translates to, and Grace just can't imagine how that might work. Having to work so closely with someone, and having to skirt around certain issues, and lead and hint and goad them in the right direction? It could work. It could also be a total disaster.

Unless that biologist were also Awakened... hmm.

Just then, her thoughts are muddled by a 'Graaaaaaacie' and a hair ruffling, and suddenly Grace is sporting the oddest looking startle-smile. "Hey, it's Sera..."

Sera's having Fun, this much is obvious. The flask is declined, but this is done with that weird smile of discomfort mixed with impatience at that discomfort. It's like the smile is Grace's attempt to not be wigged out by that shuffling of hair.

"Yeah, sit with us!"

Serafíne

"I always combine my vices," Sera's laughter is rich and only mildly self mocking and her statement is clearly one thousand percent true. She is combining vices as we speak and will pile vice on vice on vice until the world spins away from her like a pendulum gone mad and all she can do is hold on tight. "Don't I?" Lifting her straight brows to Dan for confirmation. He drops a kiss onto her brow. The affection in that kiss is quite nearly fraternal. "It's what makes life worth living.

"And I'm always around. 'Cept when I'm not, but," a flashing grin as she takes another pull from the flash. " - our door's almost always open. You're welcome pretty much anytime.

"We're on our way to a show, but we can hang a bit," when Lena offers seats, and Grace adds in an enthusiastic second. "What the fuck is up with y'all?"

Lena Reilly

Lena smiles, basking a bit in the warmth of Sera's glow. It's not a feeling that she exudes on her own and her vice-combining days are well-behind her, but she always finds some level of warm, almost reminiscent comfort in seeing it in other Ecstatics. It's a window back into something she enjoyed, albeit before she actually Awakened. Even before Lena was able to do magic, she was a born Cultist.

"Same old, same old really." She runs a hand over her scalp, little finger and thumb scooping up her hair and straightening, flattening against her head to get it in order. "I'm the dullest DJ of all time. Mostly hanging out at the house on the weekdays and helping Shoshannah with stuff during the week, working on the weekends. But dull isn't the worst thing in the world, as much as I might have said otherwise once."

"What about you?" She tilts her head a little to the right, curiously. "What show are you off to?"

Grace Evans

Truth be told, there are many things going on in Grace's life. Her plants, her sim, her new programming techniques, the business with the movie, the guns... None of it is light conversation. Some of it would be dangerous to overhear. Some of it she knows would be completely incomprehensible to Sera. So, she kind of waves her head back and forth, and her eyes dart around like she's trying to think of what to say.

"Oh, you know, stuff."

Yesss. Perfect. Stuff.

"Hey, are you going to that Halloween party? Shoshannah seems so excited about it. Well, for Shoshannah it's like, exciteorama."

Serafíne

Same old, same old, returns Lena.

Stufffff! says Grace.

Sera has by now capped the flask and tucked it back into an inner pocket of her leather jacket. She shoots this glance at Dan, and then looks back at the two of them. "Jesus Christ, you need to come party with me sometime. Stuff and Same old - "

She does not quantify her days and nights, though. Does not really answer the what have you need up to questions because they can read that in her skin and her eyes, the blown pupils and the odor of whiskey on her breath and beyond that - well -

beyond that she just doesn't say.

Dan is the one who answers Lena's question about the show. "Melissa Wyatt. She's a singer songwriter. I'm producing her EP." See, some people in that household actually work. "She's a great guitarist, and does some interesting things with rhythm and found-sound, without going off the deep end. So, just trying to support a friend."

"I guess so?" Sera to Grace, about the party. A little dubiously, though. " - I mean, it's at the house, right?" The chantry she means. "So it's just us?"

Lena Reilly

The DJ squints a moment in thought after Dan mentions the name. "That...sounds familiar, I think." Lena's in music, after all. It's a completely different style of music of course, but we're talking about a local music community and since she arrived in Denver Lena's done a lot to get herself insinuated into the scene. "One of the other deejays had mentioned her, I think. That's awesome though. If you and her want, I would love to do some a remix for the club. Might help get her some visibility."

She nods a little bit to Sera when she asks if it'll be at the 'house.' "Yeah, we're getting it all decorated up already, both for the party and in general. It looks pretty amazing, Shoshannah's done some great work with it."

And then a grin. "And I'm always down to party, to a degree anyway. There are some limits on how far I can really get my party on anymore, I'm afraid. But yeah, other than that, anytime."

Grace Evans

The others have their world, of gigs and music and partying (which is different, Grace thinks, than attending a party, exactly) and the apprentice thinks it sure is a shame that Patience had to leave so soon. So, if they're going to talk parties, Halloween is a better topic than the kind Sera means.

"That girl really goes all out with the deco. I like it, though," she says, and that's a rare compliment from her. Decoration is meaningless to her. Usually. Function before form and all that.

"I'm going to go. Don't know what I'm going to wear yet, but I have some ideas..."

Serafíne

"You should let me dress you up," Sera says to Grace. "Or just come raid my fucking closet. Jesus Christ, you should go as me that would be fucking awesome."

"I'll mention it to her," Dan says, with a quick grin and a faint shrug to Lena. "I don't know how well suited her stuff is to nightclubs? But what the hell. It might work, you know?" Then, to Sera, " - hey, we're gonna be late. We need to get a move on."

Then Sera's standing, telling Lena that they'll get together soon, though one expects that Sera... has no limits. In a way that is both brilliant and bloody frightening, at the self-same time.

Soon enough the duo are off down the street, waving a farewell as they go.

Saturday, October 5, 2013

Saturday night


Serafíne

It is not the strangest way Dan has spent a Saturday night. He spends far too many of them chauffering Sera around; tracking her down; checking in. Retrieving her clutch from the bar where she abandoned it in favor of something more-immediately-compelling than whever she was doing at the moment, and on and on. Hell, he spent one Saturday - one whole fucking lost weekend - holed up in a motel room at the city's edge eating funions and drinking Gatorade and playing the guitar while Sera sang and the walls crawled with power and resonance even he could feel. Keeping the world out.

So: Saturday night in Littleton; a quiet street near downtown. That old government building with its posh modern interior. It is well after hours. After dark; perhaps even after midnight. The Jeep again, with its rattling assortment of cassette tapes picked up at Goodwill scattered on the floor. Dan at the wheel and Sera in the passenger's seat and she's tripping. The walls are crawling with light and she keeps turning her head persistently to the right as if something were taunting her just outside the field of her vision and she has the sense that she is walking through a long, quiet tunnel. That there are rails on her hands and feet and that the street lights are breathing and -

- they park. He sets the parking break, too. Leans across the center console and murmurs into her ear. We're here.. She bumps her head into his mouth three or four times and gives him a strange little grin. She knows.

She knows she knows she knows.

Her attention swings back to the building and already he can feel her unknotting her frame of reference. Sliding into the high and little it open her up, giving herself over to it. Becoming no more than her skin so she can slip its bounds, dive into the stream and swim backwards, swallowing light the way lungs swallow air. Steady and tidal and sure.

[mnemosyne @ 9:25PM Private Message to Samael Time 2 / Prime 1 Difficulty 5. -1 for merit; -1 for specialty focus. Roll: 2 d10 TN3 (4, 5) ( success x 3 ) [WP] VALID

mnemosyne @ 9:25PM Private Message to Samael and, extending. +1 difficulty. Roll: 2 d10 TN4 (2, 9) ( success x 2 ) [WP] VALID

mnemosyne @ 9:26PM Private Message to Samael aaand, extending again, just in case. Roll: 2 d10 TN4 (6, 7) ( success x 2 ) VALID]

Friday, October 4, 2013

Dark side of the something.


Serafíne

The house is a two-story bugalow a block and a half from the neon corridor of Federal Avenue. Close enough that the glow of streetlights and restaurant signs blots out more of the stars in the sky, far enough away that the streets and sidewalks themselves feel dark and mostly-quiet. The houses are small and rimmed by rusting chainlink fences. Some kept up nicely, with gardens carefully tended and sidewalks carefully edged and the iron security bars over the windows regularly painted rather than rusting to insubstantiality.

This is not one of those places.

Bars in Denver close at two a.m. If you want to keep drinking and dancing until the sunrises you have to find someplace else to go. Three or four or sometimes six roommates cram together in this rental space. One is a mediocre artist with enough of a local following that he sometimes sells a piece for almost the ticket price at one of the two or three local galleries willing to occasionally take his latest piece on consignment. Another is a waitress and an aspiring tattoo artist. The third is a drug dealer. Roommates four-through-six are various shades of hippies, burnouts, alleged poets, hipsters, philosophers, and beauty school dropouts.

It is three-thirty-nine a.m. Which is later than you think it might be when you type the words. Later than you really understand it to be when you see them doubled and tripled and crawling on the screen of the iPhone you cannot quite wake because the coordination necessary to swipe a thumb across the virtual bar while holding the device is well beyond you.

The music's pretty loud though they've turned it down now. The asshole two doors over likes to call the cops and no one here really wants to be frisked. No one here really wants to have their name and social security number run through any number of databases. Smoke from marijuana and cigarettes drifts like mist through the air of the completely trashed living room. There's a television above the mantle that is tuned to an infomercial, but no one's watching it. People have been dropping like flies for the last hour or so. Crashing on couches or stumbling out the door. Sometimes into cabs but mostly out into the night.

Not everyone, though.

Not her, for example.

Whitney

Somebody met the bundled-up Californian out at a bar earlier tonight and decided she was cool as hell despite the black Sharpie X'd across the back of her hand. Didn't take any shit from the people around them and could take tokes like she was born with a joint in her hand and could carry on a conversation that consisted of more than film quotes and regurgitated Internet memes.

It's nearing four o'clock in the morning. In two hours she's supposed to be tying up her running shoes and stumbling out into the frigid pneumonia-loving air to go for a run with her uncle. She's 19 years old and never suffered a hangover before. Her mentor didn't teach her everything she knows how to do but damned if the rotes he did teach her don't come in handy.

She's perched on the railing outside because she prefers to trash her lungs in the open air and she's been perched on the railing for the last half an hour holding out her wrist so a beyond-wasted grad student could forget and reabsorb the fact that Whitney made the bracelet she's wearing but the grad student has been collected by her tattoo artist bestie and they've since disappeared.

Her coat and scarf are going to reek of pot smoke for the rest of the night but there's no one around to care. Everyone who's still up reeks of pot smoke and worse themselves.

Serafíne

oh hai?

Dice: 7 d10 TN5 (1, 2, 2, 3, 6, 7, 8, 10) ( success x 4 ) Re-rolls: 1

Serafíne

It's fucking cold outside. At this hour of the night the air feels like winter, tastes like winter, smells like winter. Open the door though and a blast of humid warmth hits the skin. All the bodies in close proximity. There's a dredlocked white door sprawled on the floor in the foyer, head tipped to brace against a cheap, second-hand bookshelf where people brave enough to strip off their coats and scarves have thrown them. The musky odor of marijuana is heavy in the air and the door to the downstairs powder room is open and there are two girls in there leaning over the pedestal sink, doing a line.

There's a rule about parties like this, which is that at some point in the evening someone's going to put on Dark Side of the Moon and when its over you have to shut the fuck up and go to sleep or go home or some fucking thing, but that's it. Eclipse and the party's over. They're on The Great Gig in the Sky so there's still time yet for a little bit of whatever you fancy.

Sera fancies alot.

She's wearing short pink dress printed with ironic bumble bees over thigh-high fishnets held up by garters. The skirt is short but full and flares out in a wide circle when she spins, which she does sometimes deliberately. The bodice - well, it was hot in here, someone turned on the floor furnace and then all those bodies - she's stripped down to her waist. Beneath, she wears a black-and-pink push-up bra, a tiny pink bow between the cups. Sera has lost one shoe and holds the the other by its ridiculous heel and is perched on the arm of one of the many couches, listing toward the guy sprawled beside her, listening to some story-or-other.

Even in the midst of a state of extreme inebriation, she can feel the beat of resonance from across the room. Looks up and fixes - and tries to fix her attention across the room but the walls have arms that are pushing them slantwise and everything's spinning in this beautiful, beating counterclockwise pulse.

Sera turns to the guy on the couch below her - who has an arm loose but vaguely possessive around her hips - and tells him "Move." He doesn't seem to hear her so she drops her head toward his ear and tells him to move again, this time reaching for her seventeen bottles of tequila (count them!) with her four hands and somehow confiscating the greater part of them.

"Mooooooooooooooooooove."

He can hardly believe her.

Thursday, October 3, 2013

Next to last day.


Serafíne

Sid's driving the Jeep back to Denver proper from downtown Littleton. The meeting was late afternoon and now it is evening-becoming-night and the air is cool and there is a bright, metallic note sharp in the air. Snow or the promise of snow or something. It's cold. Sera's wearing that little cocktail dress and fishnets and the most absurd sort of high-heeled boots, with open toes to show off her toenails, which are painted red-as-pooled-blood. So even with the sherpa-lined leather jacket, she's cold when they get outside, and can be forgiven for shivering. That must be why she shivers when Sid tries to hug her, because Sera does not ever shy from physical contact, does she? So no she endures it. Smiles one of her slivered and bracing smiles for the Orphan, though her dark eyes are on Jim in that moment, over Sid's shoulder. Whatever came-through-her to stain him, he managed to fight off. Found his center in the midst of the storm and split his skin and pulled in something bright and undying and opening and that too she can feel -

- and it eases the knot of strange, unbidden guilt that clots her chest.

Her head tips back. She takes in the ordinary bureaucratic bulk of the building against the darkening sky and shivers again as a cold breeze skirls around them, then darts into the back seat of the Jeep. Leaving shotgun to Jim and driving to Sid.

Sera is sitting behind Sid as they pull away, her left temple against the cool glass, view both obscured and revealed by the tangled fall of her hair against the window. She's looking down, watching the running white lines of the downtown streets give way to the running white lines of the interstate, letting movement blur together into an unformed and liquid pallette of gray and stone and pavement.

There isn't much conversation at first. Just the quiet background drone of music from the speakers. It's not the radio. The floors of the Jeep - old enough to have a cassette deck rather than a CD along with the radio - rattle with old cassettes and right now there's an old Jesus and Mary Chain cassette shoved in there. Driving beat and melodic guitar layered through reverb and atmospherics.

Things straighten up. Right themselves a little. Jim is Jim again and that facade melts from him as they drive. Sera tells them more clearly about the vision she had. The taste of Jhor on the roof of her mouth and how she found herself standing in the hallway, where Keller walked: of Keller-who-was-not-Keller; of the something beneath his skin, alien and other. The nictating eyes that looked right at her. And blinked; inhuman, impossibly alien. The shivering sense of a liquified corpse being poured down her spine. That's where it came from: the dark resonance she first tasted when they walked into the building. Through her without quite touching her, not precisely, then flooding on- and in- to Jim.

When she thinks about it, Sera puts her tongue to the roof of her mouth, pushes up the sleeves of her leather jacket, rubs her hand over her inner wrist, as if assuring herself of her own warmth.

Tells them about it quietly and solidly: Keller definitely had the film in hand then, and wasn't precisely Keller anymore. Was carrying something solid and heavy and dragging with him, maybe just the weight of that resonance and that film and the chain-of-it, and if he is in his cabin-in-the-woods, well. They should be able to trace him there and tasted him there with that resonance none of them are likely to forget, even from a distance.

Whatever was inside him is not likely to give up the film easily.

Sera tells them, too, about the other, older Workings she sensed. The first powerful, insidious, old enough that it had faded to no more than a scrim of sensation rather than the twisted nest of stinging nettles it must have been when the Work was done. And, a bit more recent, the bright chaotic burst like a firework. She imagines that whoever put the film in Keller's hand may have been the author of the earlier work. Playing on and expanding his obsession with the old film. Opening him up and turning his enthusiasm into a damn-it-all obsession. If it seems important, they can come back later. Peel back the skin of time and follow the threads to see who else was here, and when, and why.

--

Sid and Jim drop Sera off at her house in Capital Hill on Corona Street. The Jeep too, parked in the garage accessible from the alley, behind the house. Sera clomps up the stairs to the music room over the garage, connected to the house proper by that fucking awesome bridge that overhangs the overgrown garden and hey, they'll figure out the next step tomorrow. Maybe a pow-wow at the chantry in case others want to get involved? Maybe they just give that fucking address to those fucking film-hunters and have done with it. Still, someone beneath her skin Sera's wondering if Keller can be saved. Can be peeled away from whatever is inside him; can be given another chance, can be made whole.

Now, though. They drop her off. They are all a little bit wrung out. Sera waves goodbye from the bridge as Sid and Jim walk through the now-dark-garden to the street where Sid left her truck. There is nothing in that moment to suggest that Sera is going to out that night and get so fucked up she can't precisely remembers where she lives or what her name is or that she has a name, and drink until she's puking behind a dumpster in an alley somewhere. Maybe end up sleeping it off in a pew in the back of a certain - well, god knows really where she'll end up.

But yeah, that's going to happen.

ShockDrop


Going Hollywood

[[Rules! (These will be clean and easy 'cause it's not like AHHHHHH movie madness)

1. No posting order, just post once for one-a mine.

2. Be as timely as you can. I'm not gonna set a hard limit for this one because it's not AHHH movie madness kind, but try to not take too terribly long.

3. I do not anticipate physical risk. It could happen, but that is entirely dependent on y'all. Any other risk/ramifications are on the table.

4. PM flaws/personal triggers/phobias/all the usual because I can barely remember my own, much less anyone else's!

5. First post coming!]]

Going Hollywood

ShockDrop Films' main offices, the trio learn when Serafine sets up the meeting, are not located in Denver proper but in Littleton. The directions that they get the studio offices are nice and easy to follow and take them into the commercial zone of the city, nestled near Littleton Children's Hospital and just down the street from a shopping center.

As they pull up to the building, they see the building sitting back behind a gate in the middle of the parking lot, with a white parking garage on one side and an unrelated office building on the left. The trio have to buzz in from the gate, where a woman's voice ith a vaguely nasal tone asks them their name and their business. Once that is provided the door buzzes and clicks unlocked, granting them access to the courtyard from which the various buildings--business offices, soundstage and a small DVD production building--can be accessed.

The front of the main office building seems an odd fit for the rest of the buildings in here; it's older than the rest and doesn't look like it was originally a commercial building but rather perhaps some old government offices, probably abandoned a good twenty years ago or more. The main entrance is obvious and easy to find and when they walk inside, they are treated to an interior that--compared to the outside--is ultra-modern. It's all glass and cool colors, with some standard (fairly uncomfortable-looking) padded chairs and a large desk behind which a young woman sits in front of the ShockDrop logo. The woman is attractive but certainly not to the point of being a looker; she is the sort that is perfect for a secretary gig in that she is pleasing to look at and charming (at least in the way she looks up and smiles), but not distracting in her comeliness.

That smile is turned on the trio when they walk in. "Welcome to ShockDrop Studios. You have an appointment?"

Jim Thompson

They would both notice the difference in Jim's carriage and demeanor when they transition from inside the car to walking up and inside the building the production company is located at. After a final squeeze of Sid's hand, the other withdrawing from where it's draped on Serafine's shoulder, the warmth melts away. Or it might be more apt to say it solidifies to stone. Cold and uncaring. The kind of look that gets you through years behind bars. The kind of look you learn if you're lucky to survive those years. No smile. No frown. Nothing that could be misconstrued as a show of weakness.

(Read: Emotion.)

Holding the eyes of those they pass. Just long enough to acknowledge them and force them to acknowledge him. Not sitting because it's a prone position. Stalking behind the two women he accompanies because he wouldn't give anyone his back if it isn't in the line from the yard or to get a tray of slop.

And casual about it because to look too cautious might make you look scared. No, he doesn't look scared.

He might be. There are real reasons for the ruse. Real reasons he doesn't want to make either of them look important to him. Because both of them are and that could be used against him and them.

So his legs, encased in crisp jeans, part when he sets his stance in the middle of that office lobby. And his blue short-sleeve shirt buttoned up to his neck strains when he folds his arms over his chest. And his jaw, now dripping with stubble turning quickly into a beard, ripples along his temple when he sets it, his lips a flat line under his bristling mustache and his baby blue eyes no longer so inviting.

[ Manipulation + Subterfuge. Specialty: Criminal Mind. ]

Dice: 7 d10 TN6 (1, 2, 2, 4, 4, 6, 7) ( success x 2 )

Sid Rhodes

Somewhere between that afternoon drinking alcoholic root beer floats and eating red velvet cake and now, Sid changed her mind about not going with the Cultists to the ShockDrop Studios office in Littleton. She worries, see, is paranoid. And they are hers, her people, both of them, and all she could think of were all the ways that something could go wrong tonight, when they went to set a meeting that should be ordinary in everywhere. She didn't change her mind because she thought she would be particularly useful. Strangers still make her go all quiet and close in on herself, and she's not particularly adept and warping reality with her will (yet). But at least she'll be there, at least she'll be with them, at least she'll know if something goes wrong.

And who knows, perhaps a pair of keen, bespectacled eyes will come in useful.

So, right after work she drove to pick up Jim or go straight to Sera's however it worked out. She climbed into Sera's vehicle. And during the drive she reached out to touch them. Hold a hand, brush an elbow, be comforted by their physical proximity, because soon

they step out of the car and she pulls away. Let's Jim's carriage shift, let's Sera take the lead. Straight from work, she's dressed in a green, low cut t-shirt that cuts a little low (but not as low as it feels) that reads ROSEWOOD TAVERN with a lot of decorative scrollwork in purposely faded white, a brown pleated skirt that falls just above her knees and brown boots that rise up just below her kneecaps. Her hair is twisted into a knot at the nape of her neck, some length left to fall between her shoulder blades. Her glasses are small and cats-eyed. She looks pretty. She looks like someone's assistant.

Because she is. Just not Sera's. Not really.

She walks ahead of Jim and a little behind Sera. She looks a little nervous, because it's rare that Sid doesn't look a little nervous, but she tries not to look like a skittish, timid, terrified animal.

And, as usual, her mind is open to the workings of the world around her.

[because of course: percept (paranoid: because of course) + awareness]

Dice: 7 d10 TN6 (1, 2, 4, 5, 5, 7, 9) ( success x 2 )

Serafíne

It is daylight, right? That's when you have meetings in offices with people who have official corporate-speak gibberish titles like CFO. Serafíne, quite literally, does not know what those titles mean. Does not really care either and probably has not thought about it as much as you'd prefer that she think about it before they arrive at the offices in Littleton. Pull up outside in that old Jeep she bought way-back-when to drive back and forth to the cabin in the woods where they stashed Leah, which she has kept in the old garage behind Dee's big old house and brings out only occasionally.

Sera isn't driving. It's Sid or Jim behind the wheel because Sera started the day with just enough hashish to get her high and get her mellow and get her charming and get her to the point where the borders between her skin and her mind and the stream-of-life were sliding-bright, porous, real-and-unreal.

"Yeah," that Sera, with the quick edge of her razor-grin as she saunters right up to the receptionist's desk and braces her arms on the counter-height ledge. If there is one.

If not she might well sit her ass on the edge of the secretary's desk. "An appointment or something, though fuck me if I can remember who with. Thought it was going to be Keller but I hear he's gone all incommunicado or whatever. So whoever, yeah."

She is difficult to ignore and hard to forget, Sera, though the sudden onset of fall-fuck-it's-actually-winter means that she has put on a coat. So: miniscule black dress covered in a white floral pattern, a loose cardigan or something in a snakeskin print, beneath a sherpa-lined leather jacket, which is in turn covered with spikes and zippers and finished off by a pin that promises that ROLLER KING IS COMING.

Accessorized by fishnets and peep-toed silver-heeled booties, with spike-covered bracelets and a leather choker and a longer necklance with a rather-large skeleton crystal-eyed skull that falls, wrists stacked with bracelets that disappear beneath the cuffs of the coat. And on and on.

Looks a little high because she is. Smells like cloves and tobacco and maybe just a bit like whiskey, and sandalwood and patchouli. Because that's the way Seras smell.

Serafíne

Perception + Awareness

Dice: 7 d10 TN5 (2, 6, 7, 8, 9, 9, 10) ( success x 6 )

Serafíne

Reroll that 10!

Dice: 1 d10 TN5 (1, 10) ( success x 1 ) Re-rolls: 1

Going Hollywood

[[Sera, of course, senses Jim and Sid and their Resonance, but that goes without saying. But she is also incredibly tuned in at the moment, and she is actually able to pick up on something else...residual magic. There is a sense of something...insidious, perhaps, long since gone though. Or not powerful and more recent. There is another Resonance that is a bit stronger...it whirls manically in her brain, explodes like a firework. But it's also faint, more like a cap gun now. And one last one, recent, it's the deatlhly pallor of Jhor.]]

Going Hollywood

The secretary, whose name according to the placard on the dest the way is Melissa, is brisk and polite, even friendly as she looks the trio over. Jim's sullen, jaw-set attitude doesn't phase her; Sera's...shall we say, chemical enhancement odor doesn't cause a single twitch of the eye or wrinkle of the nose and Sid's inherant nervousness and shyness doesn't make her narrow her eyes in suspicion or put her heart out there for the Orphan, for that matter. After all, she's a receptionist at a film studio (albeit one that, before all the news hit, few people had ever heard of); that means she deals with artists. And Sera gives off that attitude, and the others seem like other professionals and hanger-ons, or perhaps security.

"No problem," she says, and you can almost (but not quite) hear an exclamation point at the end in the slight elongation of the No, the quick finish of the problem and the rise and fall of her tone in just those two words. She starts to type away on her computer, the clickety-clack of sharply-manicured fingernails on keys as she speaks.

"Mister Keller is unfortunately not available at the moment, he's taking a bit of a leave of absence. Mister Gilbert and Miss Carole are taking all of his meetings at the moment together, so just let me seeeee heeeere..."

Clickety-clickety-clickety-clack as she keeps her eyes peeled to the screen. Melissa is a good secretary and she is quite efficient at her job; it doesn't take long before she nods.

"Miss Davies, yes?" She looks at Sera and smiles. "Mister Gilbert and Miss Carole will be right with you. If you just have a seat, I'll let them know you're here."

Jim Thompson

Jim still doesn't sit. Instead he lets himself unfurl into the space. Mentally and inwardly rather than outwardly. A moment of mindfulness. Of the colors and decoration, ultra-modern stuffed into a building that definitely wasn't. Of his own breathing, Serafine and Sid's, even of Melissa. The click clack of her keys on the keyboard, paying attention to the way her voice rises and falls at her answer of Serafine's questions.

They're given names of more people that are going to be coming and going from the place and if she hadn't been perturbed at his presence or any of their appearances, she might not notice this. Planting his ass into one of the chairs he takes out a flask and takes a long pull out of it. If he's security there's nothing professional about that, but there's nothing professional about the man he seems to be either way. Another sip, quick as that, and then another pull and he has downed more than half of the hefty aluminum container so that no longer full it sloshes as he slips it back into his back pocket.

Social lubricant. And when he can't have a tab of acid on his tongue or the dulling effects of something rolled and smoked, oh, it will do in a punch. The working of a spirit-lightened will will come later, when it has others to carouse with or try to pluck information from, for now he just repeats the names, "Gilbert and Carole. I guess it is going to be a fuckin' musical," teeth grit and a hiss of whiskey-scented air as he exhales.

"You told me we were workin' with Keller, Essie," like it's a nickname for the woman who brought him here and had been doing most of the talking up until now. "Now I got to meet more suits?"

And rounding on Melissa a moment later, because who knows how many more moments they'll have before the other two show up.

"Leave of absence? Where to and until when? If you don't mind me asking," emphasis on the you don't. Or at least ought not to.

Going Hollywood

Mellissa smiles politely and oh-so-charmingly to Jim, with just a little hint of apology in her tone and her expression. True story: she wanted to be an artist at some point herself. She has a script that she's sent around to all the majors and it got rejected by every one of them, but she is hoping it can find a place here.

Even if it's not their usual stuff. It's a love story. Just...a love story about a Pharoah raised from the dead in 1910 England and a archeologist who slips backward in time. Why wouldn't anyone want to read that?

"I'm sorry, sir, but I honestly haven't been told the answer to that. Mister Gilbert and Miss Carole will know more than me."

Going Hollywood

[[See that. Not read that. I know ze words and what zey mean.]]

Sid Rhodes

Jim unfurls into the space. Sid seems to be trying to take up as little as possible. In the time it takes him to get around to planting his ass, she's already sitting, spine straight, hands resting on her knees. Looking around. Tight-lipped and silent. Maybe she's a writer or maybe she's something else. A groupie-friend of Sera's to keep an eye on her, make sure that she doesn't get herself into too much trouble. Something.

The man across from her - because she does not sit close to him, makes it clear she thinks they're separate - pulls out a flask and she pulls a face. Disgusted and disturbed. Wrinkling her nose, Sid looks away.

And looks around. Seems like an ordinary office space, or like it's supposed to be.

"Ah," she starts quietly, leaning forward a little and lifting her chin to look at that receptionist. Pitching her voice a little louder, which puts it riiiiiiight at about conversation level, "Excuse me. What, um. What was this place? Before. The outside's all...different."

Serafíne

"That's me. Bitchin' - " Sera returns. Yes, she said bitchin. Said it with a grin as sure and immediate and incandescant as a signal fire and flashes the secretary a quick, wry peace sign. With her right hand rather than her left, so Melissa is not treated to the sight of Sera's sharkscissors tattoo in all its full glory.

Slides - no, wait, sliiiiiides - off the desk and climbs to her feet and circles the room, wandering in a widening circle that eventually brings her back to the other two, the spiky heels of her peep-toe booties clattering on the industrial flooring.

Parks herself close to Jim and Sid on those uncomfortable chairs and tips her head back against the wall and slides her gaze back to them.

"Shit," to Jim, the quick flare of her mouth, laughing and the flash of her white teeth. "I told you already it was going to be a musical. A fucking punk-rock musical." Lifts her chin to invite Melissa into that portion of the conversation. "Bet you don't have one of those in the works, right? I'm sorry, it's fucking brilliant. You can handle the suits,"

" - bet you haven't seen Keller since - what the fuck - " lifting her chin to Melissa. "That riot-thing. Like fucking the Rite of Spring except with a silly old horror movie. Bet it was fucking Italian. That shit drives me bonkers, too. Fellini and whatnot."

Sera falls silent as Sid inquires about the history of the building, slides her little crossbody clutch around her frame and clicks it open like she wants a goddamned cigarette. Closes it again because you know, no smoking.

Shoots a slicing, sidelong look at Melissa, waits until the secretary is still type-type-typing so efficiently, or perhaps calling back to the big bosses upstairs. Then tells Jim and Sid, both - quietly and lazily -

"Three old perfumes," A lingering look at Sid. Sera does not include Jim precisely in the look; she doesn't have the knack he has of concealing things and avoidance seems the safest course, if he is to maintain that facade. "lingering in the air. Feel 'em? The oldest, powerful, insidious. Faded though, just a tang at the back of the throat. Then another, like a manic bright burst, now just an afterburn. You know how fireworks fade in the sky but you can still see them, etched against the dark?

"The last one, though. It's an October scent. Death-tainted."

Going Hollywood

Melissa smiles at Sid--lots of smiling, this one, but then that's the job--when she asks after the building's history. "The building used to be an administration building for the city years back. They shut it down at the end of the '80s, I believe to consolidate. Or just funding problems, I'm not totally sure on that. It went through several owners after and Mister Gilbert and Mister Keller managed to pick it up at a low price about four years ago."

And in response to Sera's opining about the time of Joshua's leave, she nods. "From what I understand it was a rough experience for him and he's just taking some time off, pursuing some other interests for a couple of months until he returns."

"Excuse me," she says politely as she picks up the phone and hits a few buttons. See, she's a good secretary; she works the phones like a pro. "Mister Keller, Miss Davies and her associates are here to see you..." She listens, then nods. "Of course." The phone is set down and she miles.

"They'll be right here."

Perhaps Sid, Serafine and Jim are concerned they're going to be kept waiting forever. This is the entertainment business after all, and no one can do anything on a proper schedule. It's always good to make someone wait longer; then you project the point that you're in control of the situation and they're the ones who need something from you. If it were otherwise, they'd just leave. Ahh, the joys of assholes in positions of far more power than they deserve.

However, in this case the trio aren't kept waiting long and it's only a few minute before the glass doors open and two people step out. The first is a young man, in his late twenties at the oldest but with that look of professionalism and keen intellect that belies his age. A short-cut, professional haircut and a clean-shaven face don't help the youthful look...but then, that look is often cultivated because in entertainment youth is king. He has a warm, easy smile to his face and charm (though not as much as the incredibly-efficient and probably overqualified Melissa) in the sparkling blue eyes. He has a pure business casual look; a button-down dress shirt of dark blue and slate grey dockers that end in a part of sneakers.

The other person is a woman--older, far more professional-looking and a bit more severe. She's perhaps in her late thirties, dark hair pulled back from her face and equally-dark eyes looking at the three of them discerningly. She looks a bit less comfortable than the man or Melissa at the (affected) brusqueness of Jim and the (completely authentic) stonedness of Sera, and she crosses her suit jacket (charcoal, for the record)-covered arms over her chest as she looks the trio over.

It's the man who speaks up, stepping forward to extend his hand. "Hi, Serafine? I'm Matt Gilbert. This is our legal counsel, Jane Carole." Indicating the woman with a sweep of his hand. She nods slightly to them. "Joshua's indisposed at the moment, we're taking his meetings. If you'd like to come this way, we'll be happy to discuss the business you had with him."

He gestures for the doors, and Jane starts walking in that direction. Matt waits until the three start moving, so he can start walking with them. Melissa picks up the phone as they depart into that modern hallway and the conference room just beyond.

Sid Rhodes

[awarepathy (paranoid!)]

Dice: 7 d10 TN6 (3, 3, 3, 4, 4, 4, 6, 10) ( success x 2 ) Re-rolls: 1

Jim Thompson

And away they go. Jim hangs back, though, last one through the door and turns to hear what he can catch of whatever Melissa is going to be saying to whoever is on the other end of that telephone. Whatever it may be, it may be something worth listening in on while the other two are caught up with a force of nature like Serafine, and maybe even something to do with the people that just came in to have an appointment with Keller.

[ Perception + Alertness... Maybe? ]

Dice: 4 d10 TN6 (5, 6, 8, 8) ( success x 3 )

Going Hollywood

[[Cha+Subt: YOU DON'T KNOW ME SID!]]

Dice: 5 d10 TN6 (2, 4, 5, 7, 8) ( success x 2 )

Going Hollywood

[[Cha+Subt: ME EITHER]]

Dice: 4 d10 TN6 (2, 3, 5, 5) ( fail )

Sid Rhodes

[HAH! GOT SOMEONE!]

Serafíne

"Hey!" Sera pops up from whereever she's sprawled and reaches out to take Matt Gilbert's hand. The clutch slides down, hits her hip. Tiny skulls wink from the black leather. The chain is tucked beneath her leather coat though so the bag doesn't slide far. Right hand to right hand, the flash of a quicksilver grin, all running-bright and sparkling (blood-shot) eyes as she looks past him to Jane Carole as the woman is introduced. Sera does not reach out to shake Jane Carole's hand. Just flashes her a peace sign and another grin that might be on the edge of needling.

"Matt, that's fucking awesome but I'm'a tell you the truth," leaning into him a bit as they walk, all faux-conspiracy. "I really wanted to get this in front of Keller. Can't he make a fucking exception? I mean, I need him - " a jerking glance back over her shoulder at Jim as they walk " - to make it work, and he's not happy about all the names involved and - " dropping her voice, tipping a bit drunkenly into him. "Sorry but you lady-friend looks like a fucking buzzkill.

"I mean, like a fucking awesome hall monitor."

Serafíne

Perception + Awareness-as-empathy Mr. Gilbert

Dice: 7 d10 TN5 (1, 1, 1, 2, 5, 5, 5) ( success x 3 )

Going Hollywood

[[Matthew comes off as genial and friendly, but there's a deep, deep level of nervousness underneath. It doesn't seem to be specifically directed at the trio; Sid gets the feeling that his good mood and friendly demeanor is him keeping up appearances while internally he's losing his shit.]]

Jim Thompson

"Let me guess," Jim kicks off when that door finishes swinging shut and he can come on up from behind the group. Throwing them off balance, which may or may not help, but it does reintegrate him into what's playing out. The walking and talking (and stumbling) discussion that Serafine is starting up so easily.

"You've got your lawyers sitting in on every meeting since whatever happened at that movie theater? That's what I liked about Keller. Really knowed," not knew, "how to stir shit up," seeming calloused to any loss of life that might have occurred. "You're a money guy, though? Right? Yeah," like he doesn't need to answer. "I mean, someone with vision, that's what I'm thinking. But you gotta start somewhere," as if to put the brakes on what Serafine has to say and give them a chance.

All before any of them can come up with excuses.

There's a cadence to his words. One that comes with steady breathing and the way that alcohol leeching into his blood stream effects his heart beat. Effects all of him. Trying to crack it all open. Make them more receptive to this all. Make them more forthcoming.

No, not Serafine and Sid. The other two. Though this should help in drawing answers forth.

"But really, if he's retired and ain't gonna be coming back, if he's letting you take the reigns, I think you oughta let us know now. Then we can establish," like he's trying to remember a word, he pauses.

"Rapport. Yeah, rapport. Learned that in a business class they gave us in the pen," nodding.

[ Coincidental Mind 2 effect. Trying to open them up to questioning. Make them more receptive and forthcoming about what is really going on. Double up the effect to allow him to read surface thoughts as well. Definitely going to need to extend to get the successes. ]

Jim Thompson

[ Arete @ difficulty 4. Blowing a WP. ]

Dice: 3 d10 TN4 (1, 2, 6) ( success x 2 ) [WP]

Serafíne

Sera: Mind 2 - joining Jim's affect: 1. Make them more receptive and forthcoming; 2. Reading surface thoughts. Also blowing WP. Difficulty 5 -1 for enthralling resonance.

Dice: 2 d10 TN4 (3, 4) ( success x 2 ) [WP]

Serafíne

(effect. can spell.)

Sid Rhodes

Sid's head snaps up when the duo appear, and she's rising a second later, dark eyes passing over one, then the other as she quietly takes their hands and then, not even pretending to hide it, slides her palm along her skirt.

She's not surprised by what she sees when she meets Matthew's eyes, not from what she learned from Grace. Nor that she can't see past the stonewall demeanor of Jane Carole. Sid's...acquaintances...start working in on Matthew and Sid, brows tightening a little, shoots the legal counsel an apologetic glance. Moves so that she sits a little closer to the woman.

"Sorry," she says, because she's not like them, right? They're loud, drunk, high, obnoxious. Sid is quiet and put together and let's face it, a little sweet. A little more professional. "They can get a little, well," she finishes, lifting her shoulder in a shrug as she reaches into her messenger bag and pulls out a pen and a pad of paper. For notes.

"It, ah," she says, looking from Gilbert to Carole, her eyes lingering there. Building that rapport. "Must be tough. After what happened. Keller gone."

[i am nice, let's be friends: -1WP FOR STRENGTH AND HONOR: charisma+ uh, subterfuge I guess]

Dice: 6 d10 TN6 (1, 2, 4, 4, 6, 10) ( success x 2 )

Going Hollywood

The conference room they walk into is not overly adorned, but there is that kind of hip, modern style to it that you might expect at a conference room from a tech company...except film-related, of course. The walls contain a poster (or rather, what is probably the promo picture from the DVD art; only theatrical releases merit an actual poster) from one of their more successful direct-to-video genre films, The Hangman Returns (a sequel to a low-budget but cult-favorite franchise that ran in the late 1970s and lay dormant until ShockDrop picked it up). The rest of the art is from their old films that they've snapped up rights to over the last few years in business; Italian giallo, existantial Japanese horror, some of the more obscure "video nasties" that were banned in the UK in the '80s. L'Ultimo Giorno is notably not among them.

Aside from the posters, a large conference table is in the center with eight chairs around it. The walls are panelled; a cheap solution that looks stylish if you do it right (and they did).

Matthew smiles a little when Sera calls Jane a fucking awesome hall monitor and keeps walking with her; he seems a little bit uncomfortable with the woman leaning up against him but not in any sort of repulsed way. In fact, it's the opposite; he gives that impression of being the sort of guy who was smart and straight-laced but isn't used to enjoying his success.

"I wish I could, but Joshua..."

And that is when, right on queue, Jane cuts in to interrupt, walking past them into the room.

"Joshua really needs the time off right now. Things are hectic and we just felt this was a good time after that terrible incident to get some distance for now." She smiles, not entirely warmly. "I'm sure you understand."

While Jane is cutting him off, Matthew looks at Jim, the Effect from the two starting to weave around but not having taken hold yet. "Jane's a full partner, but yeah, while we handle situations right now we felt it was best that, at least for Joshua's clients, we both sit in." He spares a quick glance to Jane, who looks back. There's clearly a bit of tension between them.

"As far as we know, he's coming back," he says in response to that last question from Jim. "He just...needs time. He was very close to that project...L'Ultimo Giorno was a passion of his. He felt that he needed to take some time to himself, you know?"

Jane, for her part, actually relaxes a tiny bit when Sid apologizes for her associates. The smile given to her is a touch warmer than the one given to Jim and Sera. "It's fine." The cadence is still short, but not chilly. "It's...been hectic. But we're handling it all right. Working with the police of course, and we're setting up a small fund for the victims. Anything we can do to weather the storm, you know?"

Jim Thompson

"Yeah, well maybe I'll head over his place, see if a little chemical-induced relaxation therapy knocks him out of it," Jim presses when the suit says he needs time, though he leaves it off with an off-color wink and finds a seat at the table. Sits down and looks like he might even kick up his feet, though he only leans the chair back in an altogether relaxed sort of position. Keeps pushing. Drawing himself out and into the moment at the same time, focusing more on the people they're speaking with than his surroundings. Less on what they're saying than how they're saying it and trying to get at why.

"Maybe that'll give him a little passion for our project," like he's still a bit insulted that Keller isn't there, but staying on point in that he moves along and doesn't seem to be dwelling on it.

"You two keeping in contact with him, at least? Making sure he's not thinking about committing hari-kari," mispronouncing it, or more pronouncing it in an altogether common sort of way. Like he's heard it in films and comedies and that's all he really understands of the euphemism for suicide.

"L'Ulteemo Jorno," again a butchering, this time of the Italian. Then he throws up his hands, after he has thrown the word out to them to see what rise it gets. "Yeah, yeah, I get it, I know the deal, needs to take a break. We don't all got the luxury, though, right? You got a lot of money in this place, I'm sure, and I've put my life into this story. Maybe we'll both be able to get a couple bucks out of it?"

[ Extending. Blowing Quintessence to maintain difficulty. ]

Dice: 3 d10 TN4 (3, 4, 9) ( success x 2 )

Sid Rhodes

Sid looks around and maybe she notes the absence of a L'Ultimo Giorno picture on the walls, and maybe she doesn't. They're not here for that, at least not on the surface.

And don't think she doesn't notice the slight warming of the woman to her side. Sid offers her a slight smile of her own that contains a bit of her own warmth that is, for a moment, wrapped up in a warm glow of happiness threaded through with a touch of something frantice, seeking, desperate.

"I do," she says with sincerity, and she considers that storm. Sid thinks about the things that could go wrong here, right now. She thinks about the monster that came out of that screen, the effect that brought it there. A tiny, tiny shiver of true fear starts at the small of her back and works its way up and up. Sid latches onto it, bends it, uses it to see the threads of Destiny that weave throughout this room. Her eyes slant down and, oh so idly, she touches pen to the inside of her wrist, just below the curve of words inked into her skin. The littlest of little figures appears, circle and sticks for arms and legs. Sid's dark eyes slant a moment to Jane.

Looking up, she glances over at Jim, and she makes that frown again, finding his words distasteful. His demeanor, too. She's here for Sera, of course, and Sera brought that guy. A look shot to Carole, brief, a flash.

"Did he at least go into the mountains?" asks Sid. "The aspens, they're, ah. They're turning. I hear it's. Nice. Relaxing."

[human lie detector: Entropy 1 + Life 1, diff 4 (coincidental) +1 diff (fast casting), dropping a WP because the dice don't like Sid tonight]

Dice: 2 d10 TN5 (6, 8) ( success x 3 ) [WP]

Serafíne

Sera shoots a lilting glance from Matthew to Jane and back again. Let Matthew be mildly uncomfortable with Sera's lack of personal boundaries. She doesn't seem to care. In fact, as Jane slips in and cuts him off, Sera shoots him a direct look, meets his eyes and holds them, steady and draw. He's losing his shit, underneath that glib but mildly uncomfortable exterior. She already traced that in the faint, physical signs. And now -

Jim makes an off-color joke about getting him high to get him over it. Sera tucks herself into Gilbert's space, tucks her arm into his, with that intimate, mildly conspiratorial body language, as if she required an old-fashioned escort around the conference room to pick up the very best chest. But, - that joke has her throwing back her head, a soundless laugh but open-mouthed, that sobers quickly though there's a lingering brightness in her eyes.

"He gets the best shit, let me tell you," Sera assures Gilbert, leaving the lawyer entirely to Sid. "And it's fucking therapeutic, you know? But yeah, you are in touch, right? I mean, I'm sure you're fucking awesome, but Keller could get this done.

"Like, you have to be willing to take risks, and sometimes you have to fucking seize the goddamned moment, and that's what we need right now to get this going. That fucking vision.

"Because it's not like some cheesy-ass biopic. It's like Dr. Horrible meets Grease and gets trapped in a what-the-fuck-do-you-call-it in sci-fi movies? DNA all mixed up. That one where the guy turns into something else - like fucking Kafka but on the screen -

"And you seem great and all - " let other people takes seats. Sera releases Gilbert's arm at last and swings herself up to sit on the table. Lifts her eyes past Gilbert to Carole and Sid, then drops them back down. " - but I don't know. You look a little shaky around the edges. Like you're not sure you can fill his shoes."

(Annnnd, extending too. + Quint to keep difficulty low, don't blow it sera!)

Dice: 2 d10 TN4 (6, 6) ( success x 2 )

Going Hollywood

The Effect woven together from the conjoined efforts of the two Ecstatics spreads over both ShockDrop executives and settle in their brains; the Lakashim beats as Jim's efforts addle them and opens their minds up while Sera's slips right into that opening and spreads her enthralling Passion, making them open to the trio and--more importantly--their questions. Matthew moves to take a seat and, for the moment, Sera has his complete attention which allows Jim's questions to slip past his guard.

As for Jane...she just relaxes. It's like a weight is taken off her...these three, they're okay to open up to. You have to let loose to someone, right? What do they know, and what harm can they really do, after all?

"We..." Jane looks at Matthew, and then back at Jim. "We don't know where he is, to be honest. While we were doing damage control, he called us from his car. He said that he had to get out of the city, get away from here for now, but that he'd be close and that he'd be back." She snorts a little then. "He basically made a mess, and left us to clean it up."

And in her mind, Sera and Jim both sense it. She's being truthful but there's more to it than that. Her surface thoughts flot up like petals going over a waterfall and plunged into the water, then rising back to the surface. Fucking idiot. 'I've got the film, everything's fine. I'm taking it somewhere safe.' All it is with him is that movie. I bet he probably sabotaged the screening for noteriety, the little psycho. It wouldn't surprise me.

Matthew, for his part, scowls at the last sentence from Jane, but it's brief because--well, there's a Sera on the table in front of him, so captivating. They don't need ecstasy to get him high and distracted, and thus susceptible to their questions; they are Ecstasy. "It's not like that," he explains. "I've known Joshua for years. He's an ass sometimes, but he's just...he's very passionate about these movies. This company was his idea, I was the money guy." Like Jim said. "I am. And Jane's a good lawyer because she's the voice of reason. It's just that...this film, he's always been obsessed with. And so when he got the ability to get his hands on it he jumped, and then it wasn't a good time for him to be here."

Matthew's thoughts run, at the moment, to the Serafine-minded variety. They're shockingly non-shocking, because he really doesn't have any experience in that arena. It's almost sweet. Underneath that, though, is that panic and that worry. He doesn't know where Joshua is, and they're very close friends. He is barely holding it together and Jane's suspicions are only making it worse because he's SURE he didn't do any of this on purpose. (Yes, they've had that conversation already.)

Jane looks at Sid when she asks about where he might have gone. "He has a cabin up there, yeah. Listen, if you really need to deal with him, whatever. Talent is all his thing, I'm lost at this part of it anyway until contracts come into play. You can feel free to go up there. I'll get you the address. We don't know that he's there, but...it's probable."

Jim Thompson

"And we didn't hear it from you," Jim says, and he's practically continuing Jane's sentence in the most reassuring way he can say it to the two of them. "Fuck if he'd even remember what he did or didn't tell us the last time we were talking shop," leaning in.

It's almost conspiratorial. That hardness is loosening up, shoulders moving more while he talks and they begin to enter the ebb and flow. Rock becomes water and gets stirred and shaken with color. With emotion. With openness. Like it had been waiting there in a vessel to be opened at any moment. There the whole time. "And maybe a few eggs got broke, but you both know this is going to leave ShockDrop a place in film history. A place we're hoping our story can be the next chapter of," leaning back.

"Good lawyers. Wish I had one of those back in the day," he ventures to Jane next, but he moves back along to Matthew.

"Any clue where he heard about the film? Who he got it from? Yeah, he said it dropped off the map for a while, but where'd it end up... Popping back up? I mean, we want to know who we oughta be working with as much as who we shouldn't be, you know? And it sounds like they got some bad mojo. Kind you can't scrub off," sounding a bit superstitious for it. Like it's a curse he doesn't want following him or to follow...

"One of the reasons I was a little put off coming in here and talking to new people. But maybe new's good." He's a fast talker. A bit of a hustler the way he hurries those words out, tagging emotion to the back and forth to build familiarity. Agreeing just enough to jump to the next point, like it wasn't even his idea to go there.

Sid Rhodes

Effects drop and flow like a pile of warm blankets around the pair, so soft and comfortable and comforting. They make them relax, trust, open up. Sid makes sure that they're being honest. She doesn't have the abilities Jim and Sera have to tap into someone's mind and sift through the top layer of thoughts, so she does the next best thing she can.

"Why was it so important to him?" she asks, relaxing herself. Not because she's affected by Sera and Jim's Working, but because they're there and they're working and she feels better because of that. The question is posed to Matthew, her pen now poised over her little pad of paper on which she's scribbled a few notes already. But he's the friend, the chummy one, he's known Keller for ages. "Do you know?" Like she's just curious, confused that anyone would be so obsessed with a movie, let alone an obscure horror one.

Jim picks up the line of questioning and runs away with it, though, so she returns to Jane, who is offering her an address. Sid smiles a little.

"That would be helpful, thanks. Can we get his cell number, too? He called you from the road?" but it's less a question and more a gentle chide, how could he? "While you were still cleaning up?" Even gives a slight shake of her head, eyes drooping closed, Unbelievable.

Serafíne

"I think that might be best. The address would be fucking great," a flash of her smile cast over her shoulder at Jane. It is not precisely steady or reassuring, though it is perahps incisive. The woman's superficial thoughts run like water across the surface of her mind; or rather like oil-on-water. A sheen of memory, tinged with contempt, resentment. Sera breathes out sharply as they bubble up, then glance back at Matthew.

Sensory fucking overload. The magic and resonance and work drifting in the air. The two strangers. The lingering skin of that Jhor-taint at the back of her throat.

"I bet you guys have been swarmed with folks looking for him. I mean, not just the media you know. Like you said, he is the talent guy. You sent anyone else up there looking for him yet?"

Otherwise, though, Sera's pretty quiet. Leaning forward be close to Matthew without invading his space quiet so thoroughly. Letting her attention drop back every so slowly, into the threads of her high. The memory of that resonance in the back of her throat and her mind.

Jim Thompson

[ Perception + Awareness ]

Dice: 6 d10 TN6 (1, 1, 3, 4, 4, 4) ( fail )

Jim Thompson

[ WP ]

Dice: 7 d10 TN8 (1, 1, 1, 3, 8, 8, 8) ( success x 3 )

Going Hollywood

The trio's honeyed word (made as slick as they are sweet thanks to the judicious application of Mind) coat the bitterness in the taste of the two film studio executives' mouths, wash it away. They're relaxed now, at ease. This is okay...the three aren't freaking out and they're not pulling a potential project. They're curious about what happened and they want some gossip, so why not give them some? Matthew knows the bills need to be paid and Jane knows it too; they're the business end that ShockDrop probably would have floundered without.

And thus Jane relaxes with Jim and Sid, and Sera practically owns Matthew at this point. A little magic, nudged in just the right way. This is the Traditions at work, when they do it right.

Jane shakes her head when Jim asks about where the film came from. "No, we don't. He was very secretive about it...he didn't want us to know anything." She snorts a little bit at that; her surface memories of the massive amounts of tension that caused, arguments between them with Matthew playing peacekeeper, roll up to the top of her consciousness. "I knew he got it in Italy somewhere. He said that he had some kind of source who'd gained direct access, but that's all he would say. He said it was better if we didn't know, whatever the fuck that meant."

And she smiles a little when he assures her that he's looking at their little business venture positively. That's comforting...maybe they won't get buried by the lawsuits that are already starting to come in.

"It was just...a passion to him," Matthew says to Sid with a shrug (to Sera). "It's horror legend, you know? He knew about it for years and wanted it. Joshua...he's one of those guys who always wants to be the one who's seen the thing you haven't seen, and done the one thing you haven't. And The Last Day...well, to a horror fan that's the ultimate. It's like finding a copy of that Jerry Lewis Nazi clown film. It's the stuff of legend."

Jane nods when the address is asked for. "Yeah, here." And with that she's walking over to the side table, grabbing a pen to write it down.

"No, no one's been to see him," Matthew says to Sera. "He's my friend. I'm not throwing him to the wolves, whatever some people want." They don't even have to see the way Jane's hands clench around the pen to know who he means; they've sensed it."

Going Hollywood

As Sera focuses on that Jhor, that sensation that's been lingering in the back of her mind and the roof of her mouth...she feels herself start to drift. And in a moment, she's there in the hallway of ShockDrop Studios alone, where they had just walked through. It's dark, and cold, like the heat's been cut off. And as she stands there, she sees someone walk into the studios.

It's Joshua. He fits the description and the picture in the newspaper. He's walking along, but he's dragging something. She can't tell what; there's a cloud of shadow that starts to coalesce around him. It seems...heavy, whatever it is he's dragging along. The film cannister is in one hand.

Joshua walks by Sera, and in the moment he draws close, she gets a feeling like a liquified corpse has just been poured down the back of her shirt. She looks in Joshua's face and she knows, instinctively that whatever it is...it's not Joshua. It's a Joshua mask, and she swears that she sees something cold and slithering behind those eyes...which blink and then blink again like a nictating membrane.

Jim is so keyed into Sera that, while he isn't there in the hallway with her, he feels all of this, and when the the not-Joshua blinks and blinks, he feels something pass from it through Sera, not touching her and directly into him. He feels cold, pallid like a corpse though his body hasn't changed temperature or color. Sera feels it pass to him as well, though it doesn't touch him. For now, he's suffused with Jhor, though it is already starting to fade.

[[Jim has Jhor resonance of 1 for the next day.]]

Going Hollywood

And then they're right back in this office with Sid and the two, as if nothing had happened.

Jim Thompson

It comes and it tries to supplant himself and that is enough. Even as it fades he's trying to shake it off as if it can, somehow, anyhow, expedite the process. Outwardly he goes silent and only nods, forefinger and thumb on his chin like he's listening to what they're saying, but he's not, and it shows a second later when he stands up from the table.

He has to. He has to move from that spot, like he want to get away from whatever's lingering there, but it just comes along with him like an odor clenched to his clothes (being) and form (self).

He seems unsettled. No longer just erratic, but unsure of himself or this place, and he's thankful that his work on Jane and Matthew is done, because whilst that will continues to get drips and drabs of his attention - for the sake of his two companions - he's turning inward.

Sits back down. Gets quiet. Tries to find his focus and push back. Realizes pushing might not be the answer. Instead he tries to find his center and contend with it more directly.

[ Intelligence + Meditation. Specialty: Transcendental. Mental floss and scrubbing commencing soon. ]

Dice: 8 d10 TN6 (5, 6, 6, 7, 7, 7, 8, 9) ( success x 7 )

Jim Thompson

[ Arete. Coincidental Prime 2 Mind 1 effect. Difficulty of 5 - 1 for taking his time and -1 for Stoic resonance because hopefully that stuff will roll off of him when he finds his center. If the resonance doesn't count he's spending Quintessence. And a WP (down to 5). ]

Dice: 3 d10 TN3 (3, 3, 5) ( success x 4 ) [WP]

Sid Rhodes

[per+aware: what is Jhor]

Dice: 7 d10 TN6 (1, 3, 5, 6, 7, 8, 9, 10) ( success x 5 ) Re-rolls: 1

Sid Rhodes

[WP]

Dice: 6 d10 TN7 (3, 5, 7, 8, 10, 10) ( success x 4 )

Serafíne

ACTUALLY ALSO WP FOR SERA FOR REASONS OTHER THAN THAT. (get it together)

Dice: 6 d10 TN7 (1, 2, 5, 6, 7, 7) ( success x 2 )

Serafíne

"My songwriting partner's like that, man," pulled briefly out of the thoughtless background into which she was allowing herself to drift. Alpha Hipster, she means. The woven threads that bind together and peel apart, become particles and waves and everything and you breathe them in like starfall and out like water and - but see, rousing, the flash of her dark eyes all silvered in the fluorescent light, the reflective surfaces. Swings out one of her faux-long-legs, touching Matthew on the thigh with the toe of her leather bootie and if the gesture feels affectionate. Well, it rather is. " - except with obscure post-punk bands and their old vinyl."

Thus far, that's only led them to some weird old flea markets and the related bins of old records tucked away in old milk crates.

Then she's back in focus, tongue against the roof of her mouth, tracing the way that feeling opens in the back of her throat and letting it drift beneath her skin and she's breathing in and breathing out, remembering how it works and forgetting the rest of them, pulling threads in the tapestry in to her so she can just start to ravel them out again when -

- her breath stops. Her blood chills. Her heart stops beating and Sera's staring up past the crown of Matthew's head, eyes open and unseeing, turning to follow the movement of someone not in the room. The truth is that it is a staccato beat of a moment that drags itself open in the back of her mind and has her breathing again, audibly and all at once. Shivering too, this long, resonant shudder that plays itself open up and down her spine.

Her hand comes up to her mouth and her eyes dart to Jim and there's no hiding Sera feeling what she's feeling when she's feeling it. The stark and resonant chill of fear; the sick slide of something else, turning over in the pit of her stomach, which she cannot quite name. A sharpening edge of worry with a glance at Jim.

Which she pulls back when he gives that fucking gesture, dropping her gaze to Matthew. Doesn't know whether to vomit or cry.

So: she does neither.

Slips from the edge of the table and onto her feet. Bends over to kiss Matthew on the temple. Tenderly, really, cupping the crown of his head as she does so.

"Don't worry about it. You've been a great friend to him. You guys are going to be okay. Okay? Give me your number so I can check up on you."

Serafíne

Charisma + Expression

Dice: 8 d10 TN6 (2, 2, 3, 3, 3, 8, 10, 10) ( success x 3 )

Serafíne

Rerolling 10s!

Dice: 2 d10 TN5 (1, 3) ( fail )

Sid Rhodes

No one's been to see him, so there's actually a possibility he's still up there, holed out in his bunker, clutching his precious oh so tight, that Josh Keller. Sid makes another note, then looks up, watching as Jane goes over to write down that address.

That's when it happens, whatever it is. It swoops down on Jim like a shadow, dark and terrible, that "scent" Sera said she noticed. Makes him rise and push away from that dark space at the table. More a musk than a perfume, dark and, well. Sid knows death, has a different relationship with it than most people. Jim's seen the scars, he's heard the story.

A touch of death sweeps through Jim and Sid can't help it, her body tenses for a moment when she feels it, her grip on her own pen going a little tighter. It passes, though, that tension, because it's gone. It brushed him and Jim flung it off him, wiped it away in a matter of moments like he might wipe sweat from his brow. Sid's shoulders relax, just a little.

And then hopefully Jane has a slip of paper for her, something to distract her from the sight of her loved ones in distress or concentration, so she can try to pull back over herself that quietness that comes so easily and that detachment that does not.

"Thanks," she says, and she closes her notebook before anyone has a chance to see what Sid's written there - not that they could understand it at a glance. And then she's rising, sliding that paper with an address and hopefully at least one phone number as well, slips it between the pages of her notebook and drops that all into her bag again before she pushes herself upward. And she pauses. Looks over at Jane, and she offers her hand, genuinely this time, so it has more warmth than what radiates from those digits and that palm naturally. And if she takes it, Sid holds her hand a moment, not to shake, just to hold. "It'll be okay."

Going Hollywood

Everything seems fine and the executives are being soothed and then it's not fine. Suddenly Sera is staring breathlessly at nothing and Jim feels like death and everything's horribly wrong for a moment...but it's just a moment. Still, Jane and Matthew notice and they tense as the two artists (at least they can blame it on them being the artsy ones and the high ones) have freak out moments. Even Sid tenses, almost flips but she's made of stronger stuff than that; she's proven it over the last month.

And then it's fine again. Jim relaxes focuses inward and Sera kisses Matthew on the temple and tells him in soothing tones that everything will be okay, because it will.

Except she knows it won't.

But it will be for them, those in this room. Hopefully. And that's enough for him to believe, because Serafine is hope at the moment and Matthew needs some hope. Even Jane, skeptical and older and more cynical Jane, is more relaxed now.

"Yeah, sure," says Matthew, and he gives Sera a phone number. "That's my personal line here at the office; it forwards to my cell when I'm out.

And Jane takes the offered hand from Sid. She's more put off than Matthew but she started off that way anyway, and she's made of stronger stuff too. "Yeah, here's hoping," she says with a sigh. "Best of luck on finding him. I honestly hope everything's okay. He's a jackass but a good guy underneath. He's just..."

She shrugs, as if not knowing how to say it. Her mind knows, though. and Jim and Sera here it.

A vaguely sociopathic misogynist dick. Hey, we can't all be honest with our words.

Serafíne

"You guys," Sera says, "have been awesome. Seriously. You've been so fucking helpful. We've gotten everything we need. Time to track down Keller." Straightening, she gives him a thoughtless little caress, sliding her fingers through his hair before finally letting him go.

"I'll call you soon, okay?" Then, with a brief, haunted glance toward Jim, then Sid, "- let's go."

And so they do.