not_the_last (Cassandra de Rolo) (
not_the_last) wrote in
come_sailaway2023-11-05 09:45 pm
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are you out there? can you hear this?
Who: Cassandra de Rolo & OTA
When: November
Where: Around the Serena Eterna
What: on all levels but physical/literal, shouting into the void
Warnings: Game-typical angst, canon-typical angst, others to be added as they come up
A. what's the future, who will choose it
She's ... anxious, she decides, is the right word. Anxious about the Voyager plan. What if it gets discovered and stopped, what if it proceeds as planned but fails to break out of the demiplane, what if it reaches the outer world and is discovered by something only interested in taking advantage of whatever it finds --
The anxiety never gets anywhere near the point of making her want to call a halt to it. Not this time.
Still, she does find herself wandering about near the signpost and its accompanying book, to see who's writing in it. Not that it makes any difference, but ... it's something she can keep an eye on.
B. you never know who's still awake
Cassandra is rarely if ever to be seen around the buffet these days. One might spot her in the kitchens, though, usually very late at night, usually making something involving potatoes and/or cheese. Sometimes, similarly late at night, she might carry a snack to eat elsewhere around the ship; usually more cheese, with crackers, or cured meat, or a little jar of jam or relish of some kind. Usually somewhere that doesn't attract a lot of people, as though reluctant to eat in company with anyone.
Are you up very late and avoiding company too? You might run into her.
C. play the madmen poets
She's aware that it's unwise, perhaps now more than ever, to do anything to shut out or dull her awareness of her surroundings. Nonetheless: it may also be something she needs now more than ever.
As a compromise, she's only using her music player when she's got a good view of the rest of her surroundings, or when she's otherwise fairly sure nothing can get close to her without her knowing. So 'while flying' is a good option, as far from the ship as she can get while still able to make it back before her wings fail; another is perched on a high roof or crows' nest, some spot she can only get to by flying. And occasionally, very occasionally, in the library while seated with her back to a wall
There's so much music in this little box, and she still hasn't heard all of it. This month she's working her way through the repertoire of a bard with a rough but compelling voice, and trying to make out what his verses are talking about. (You don't need a weatherman to know which way the wind blows is possibly the first intelligible thing he's said in this song, and she still isn't sure what he means by it.)
D. wildcard
When: November
Where: Around the Serena Eterna
What: on all levels but physical/literal, shouting into the void
Warnings: Game-typical angst, canon-typical angst, others to be added as they come up
A. what's the future, who will choose it
She's ... anxious, she decides, is the right word. Anxious about the Voyager plan. What if it gets discovered and stopped, what if it proceeds as planned but fails to break out of the demiplane, what if it reaches the outer world and is discovered by something only interested in taking advantage of whatever it finds --
The anxiety never gets anywhere near the point of making her want to call a halt to it. Not this time.
Still, she does find herself wandering about near the signpost and its accompanying book, to see who's writing in it. Not that it makes any difference, but ... it's something she can keep an eye on.
B. you never know who's still awake
Cassandra is rarely if ever to be seen around the buffet these days. One might spot her in the kitchens, though, usually very late at night, usually making something involving potatoes and/or cheese. Sometimes, similarly late at night, she might carry a snack to eat elsewhere around the ship; usually more cheese, with crackers, or cured meat, or a little jar of jam or relish of some kind. Usually somewhere that doesn't attract a lot of people, as though reluctant to eat in company with anyone.
Are you up very late and avoiding company too? You might run into her.
C. play the madmen poets
She's aware that it's unwise, perhaps now more than ever, to do anything to shut out or dull her awareness of her surroundings. Nonetheless: it may also be something she needs now more than ever.
As a compromise, she's only using her music player when she's got a good view of the rest of her surroundings, or when she's otherwise fairly sure nothing can get close to her without her knowing. So 'while flying' is a good option, as far from the ship as she can get while still able to make it back before her wings fail; another is perched on a high roof or crows' nest, some spot she can only get to by flying. And occasionally, very occasionally, in the library while seated with her back to a wall
There's so much music in this little box, and she still hasn't heard all of it. This month she's working her way through the repertoire of a bard with a rough but compelling voice, and trying to make out what his verses are talking about. (You don't need a weatherman to know which way the wind blows is possibly the first intelligible thing he's said in this song, and she still isn't sure what he means by it.)
D. wildcard
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Her voice sounds ... cautious, a little uncertain.
(Not alarmed, surely. Surely there's no cause for that.)
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There's a half second he lingers on her, before he quickly finishes wrapping so he can give her his undivided attention. "Just doin' some trip prep. Nothin' too- Well, nothin' outside of the normal unusual."
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He gives a gentle smile, hopes it's reassuring. "What about you? What's got you up at my hours?"
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It's entirely the truth, and it sounds in her own ears like she's lying.
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"Bottom line is this cruise ain't my first or worst magical kidnappin'."
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This cruise isn't her first magical kidnapping either, and it would be difficult to say whether or not it counts as her worst. She's not going to say so just now, though, for fear of derailing whatever Okie is likely to say next.
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"The thing on the other side, it- it turned me into the sky. Stretched everything I was over top of its shitty play-pretend world, poked me in the soul so I'd stay a storm, 'cause that's what it needed for its game. I was in there three years."
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She suddenly remembers the chunk of sunlight from Erin's hoard, turned into a pendant, and her stomach wrenches hard.
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"Whipped me up into a tornado, chased me over fake towns an' houses. Got really used to seein' people die from a half mile up. That's why, uh, back in Dedue's memory, when I saw all those bodies from the pegasus... I broke, a bit."
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Shame flickers red in her cheeks, for just a moment, and subsides.
"I had no idea," she whispers.
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"But, uh, everything was bad, when I got back out. Didn't have a home anymore, started stealin' an sleepin' in sheds an' shit. Gave up my name, but a couple 'a folks 'round here have pulled that back outta me." There's an edge there. Things that aren't being said, but it's less him hiding them from her and more him hiding from them. "I know you don't like me thinkin' this place is good, but I was at the lowest point of my life between the Hedge an' here. Here was always gonna be better."
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"I hope you understand," she starts, and shakes her head, and starts again. "I hope I have been clear that I don't hold it against you, finding this place better than where you were before."
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He's full of thoughts, of things he wants to tell her. One of them bubbles out of him. "My name's Cal. You heard already, I know, but I want you to know, from me. Okie is, um. How to say it..." A deep breath. "I'm from a place called Oklahoma. An Okie is someone from there. But it used to be a word other people used to call folks that ran away from there. That's what I am. I thought when my family died, Cal died too. That I shoulda died too. I try not to think it anymore."
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She finds she doesn't want to.
"It's ... it can be difficult," she says, very quietly, "not to think that. When you're the only one left."
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"Do you want to tell me why?"
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"It shouldn't be possible. I shouldn't 'a still been the Storm on that side 'a the Hedge. But I can't make myself believe it wasn't me that did it. Mr. Smith saw it, thinks it wasn't a coincidence, too. But he told me it wasn't my fault, an' I have been able to believe that."
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"I can," she starts to say, and her voice scrapes and catches on something, "I can s-see how one -- how one might --"
All the precision and care she wants to put into it, all the wise insight, crumbles away like a snowbank undercut by a river in thaw. With a breath like a sob, she manages "I am so sorry," and reaches for his hand.
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"It's been just over a year, I think. I don't remember the day. I never got to tell 'em I regretted leavin'."
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And what could she say, anyway, in the face of this? It's not fair is the only thing coming to mind, and surely he knows that already.
Finally she swallows down the ache and tries again, only the smallest bit husky. "I think ... I agree with Mr. Smith. Starr," she corrects herself. "I don't see how it could possibly have been your doing."
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"He wasn't like that when he was alive. Earl, I mean."
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A small hesitation.
"Would you ... want to tell me what he was like?"
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