Voices from Heaven (
thespaceopera) wrote in
driftfleet2015-10-20 10:06 am
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Sweet dreams are made of these...
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no subject
this room is alarmingly unfamiliar, of course, but all of the new changes are of things that he has personal experience with. he knows how to deal with these things. it's practically a page out of his childhood, really. so, once he's sure that all the moving parts of the room don't actually seem primed and ready to do much moving, he begins a careful, quiet pace across the tile.
he flips the scalpel between his fingers once. when did that get here?
moving toward the shrouded body, he keeps an eye on the girl as he goes. just to see if she stays just as unfocused as she seems.]
no subject
[When he gets there, if he chooses to pull back the crisp white sheet, he'll find the body of a girl - Abigail's age, height, weight, shockingly similar in appearance in every way - cleaned of blood but with holes pressed all through her torso, as if she's been mounted on antlers.]
no subject
of course he pulls back the sheet. you can't tell anything about a body until you get up close.
he keeps an ear and part of his attention in the direction of the living girl, but... the corpse soon takes up the rest of his focus. the wounds are fascinating. he glances over to look for bruising, trying to judge which wounds were made before and after death. he even brings up a hand to press a fingertip at the edge of one injury--not even giving it a thought before he dares to touch a dead body that has nothing to do with him.]
no subject
[Her skin is still flexible enough, her corpse fresh enough, that when he presses down lightly the flesh gives - doesn't break away, but allows slight entrance into the wound. When his finger brushes the place where skin gives way to muscle, there's a sudden flash of memory.]
[A circle of girls in a dark room, sitting on folding chairs. They all have pale skin, long dark hair, red lips, blue eyes, a circle of midwestern Snow Whites, staring. They are all in their late teens. They stare accusingly, stare stare stare, and they all say the same thing, one after another:]
He should have killed you, so he wouldn't have killed me.
no subject
too familiar. all at once, it's too much.
it's suddenly hard for him not to see a different face there... though, not all that different, really. he'd had so many dreams like this, with her pale eyes staring into him.
she hadn't said those exact words, but they're close enough to count.]
no subject
[First, a triptych of murders, all set up the same. On the left, a thin balding man with pale eyes and the same exsanguinated lips, his chest riddled with bullet holes and a haunted grin resting on his lips. In the middle, a man with dark hair, tired eyes, and smudged glasses. On the right, a man with light hair slicked back; he wears an expensive suit and excellent shoes, and he looks so content, as though he's never been sad in his life. When you blink, in the moment before you open your eyes, his silhouette is replaced by another.]
[In perfectly synchronized movement, they all slit the throat of the same girl who exists in triplicate. The only difference in her is her expression as she dies: shuddering tears of grief on the left, wide-eyed fear in the middle, and smug satisfaction on the right.]
[A voice whispers in Coil's ear: Which one is real?]
[And then, directly behind him, the sound of a door opening, and abruptly he's in an attic wallpapered in antlers, and the man from the middle of the triptych is grabbing his shoulders and shaking him.]
no subject
whether he currently has capacity over his own limbs or not, he fights as soon as he's grabbed and shaken. he's striking out with everything he has, even if it's only in his head.]
no subject
See?
[And then Abigail materializes behind him, hooked onto a rack of antlers, her wound patterns the same as Marissa's. She looks the same otherwise, sober and a little sad and tired but otherwise not terribly distressed. Her voice is calm.]
You need to run. Right now.
no subject
not perhaps out of overwhelming fear, but more of a need for action--keep moving to survive. like a shark needing water pushing through its gills. slow down for too long and it's all over.
but he can't just run off yet. he doesn't know if he's still really in that kitchen room, or if he's anywhere at all, but he at least tries to follow a different instinct. she's stuck and bleeding, and he knows what comes next. he wasn't forgiven for it the first time, so he can't turn his back now.
he walks towards her instead of running away.]
no subject
No. No, no--
[She shakes her head, the only part of her not impaled, the only thing she can move.]
No, no, no, you need to go, please don't save me, please don't, I don't deserve to be saved!