10-10-2013, 10:58 PM
Jim clears his throat.
Oh, yes. Jim must be there to clear his throat.
Or, if a Jim clears his throat and no one is there to hear it, does what he say after matter? But this Ecstatic isn’t just talking to himself. He’s there.
We’ll start this way, instead…
Jim gets there. He’s the scruffy gentlemen of some six feet who wanders in at some point or another. The one in the dark ash grey sweatpants and a heavy knit sweater held closed by toggles. He pads up in New Balance sneakers and leans in the door frame. That’s from where Jim hears a bit of what is said.
What Serafine gets up to say - oh, yes, he’d seen that look of horror on her face and even lingered near the edge of that entrance to that living room turned into assembly area or staging ground depending on the listener to what’s being said. And he’d waited for her to pipe up and say what needed saying for whatever reason he has for doing so. Lets others give their suggestions and offers of aid and tracking down Keller, information on Keller, intelligence on the whereabouts of the movie, all of this.
And that’s when Jim clears his throat. Not for maximum effect, but because he’s taken a sip of whiskey-over-rocks and what he said will not sound so good with a spirit rasped voice. He clears his throad and swallows so instead his voice comes deep and smooth.
"Keller-not-Keller. Keller possessed? By whatever is in the film or whatever is on the otherside or whatever other minions might already be serving it on this side. Or maybe it’s Keller awakened? Which could just be the re-awakened avatar of the original filmmaker, the Hermetic we now know to be Montanaro, who was executed by his tradition, but whose avatar was left intact to awaken again. If that avatar was too drenched in jhor or subverted by whatever spirit he was trying to capture in there it might explain his hard-on for the film, for showing it, and for the resulting violence," and there are words that Jim says with an inflection. Not just because they’re the most proper of nouns or the terminologies of will workers. Instead with a heavy heart that comes from parted lips amidst mustache-turning-to-beard. Words that ring a little clearer than others because of his distaste for them. Words like violence that get the most careful attention. Caution. Seem to stir up the most inner conflict.
"If the film’s a gateway another could be created. If the avatar is a servitor of darker entities, it might not give up so easily. He might not give up so easily. If it comes to it and another incarnation of that life ends brought to an end what’ll keep from it awakening in another. And like it did 1949, and like it did this past September, it could all happen again," something he sounds loath to allow happen. He seems to worry about those hypothetical bodies this thing might leave in its wake in the future as he does the ones it already has and the ones it threatens all around him. "Putting this film behind a vault door doesn’t seem to be a long term solution anymore, though, so getting it back and handing it over to those who’ve lost it before? I don’t know if that’s a solution either."
"Sleepers seem to only get this thing so far, though, and there’s the chance he’s popped his head up just to get our attention. A few bodies to put Technocrats and the Traditions on his trail when we’re all so thin after the Reckoning. And maybe this easy-to-ferret-out cabin in the woods is just a way to get the kind of audience he’s going for - the right demographic - in one place for a final viewing. A final summoning," he ventures next.
"Scrying and spying are options. They definitely are," like he isn’t discounting the ideas entirely. But he continues in a way that says, I feel this must also be said, because he does: "But when you peek those you gaze upon might gaze back. No matter how careful we are. Or even that the Technocrats might tie us up in the mess we’re now tied up in, whether we like it or not. If Keller or whatever controls the film has enough skill with the magic or chance and fate it may help him know that we are coming."
"I have one proposition. If the Technocrats know of this film and may now be after Keller, we make a gesture in good faith. When magically empowered drugs were going around we recovered them to neutralize the threat it was presenting to Denver. We haven’t destroyed those drugs yet. Getting them to the Technocracy for them to dispose of says that we may not be so far apart when it comes to this. And lets us come at the Keller problem without having to look over our shoulder for mirrorshades with pistols,” looking around for reactions to this suggestion.
"Would any of us be able to neutralize his avatar? Have the will and know-how to do so? Or even to neutralize the film or whatever is inside or on the otherside of it if it is a door? And it makes this into an opportunity. A way to reach out and find common ground with the Technocracy. Establish a relationship with them when it comes to the common good. War hasn’t worked in the past," again that distaste. That caution. That discomfort at having his tongue handle a word like war. It doesn’t seem right uttered in his voice. "The last time we saw them in Denver they helped clean up a Nephandi mess. We can again show we're different, but no so much to need the cold war between us to heat up."
"It's an idea. A possibly dangerous one. One we don't have to even use," like he won't impose it on anyone there. Simply suggest it to see how the others who have come to the chantry deal with it.
"Either way, if we’re going at that cabin, I think we need to do it only when we’re ready to finish it. I don’t believe in violence or advocate it. If we could do this without having to execute Keller, then it’s what I would prefer. But I think this is a threat that needs to be neutralized once and for all. And my ears are open to other ideas as to how to do that," another flitting glance of his blue eyes over the room as he looks for who might talk next…
But remembers something. Speaks one last time:
"Oh. By the way, I’m Jim," and that’s where he leaves it. Nothing in the way of rank, title, or tradition. He speaks in sentiments and possibilities instead. Or at least has thus far.
Oh, yes. Jim must be there to clear his throat.
Or, if a Jim clears his throat and no one is there to hear it, does what he say after matter? But this Ecstatic isn’t just talking to himself. He’s there.
We’ll start this way, instead…
Jim gets there. He’s the scruffy gentlemen of some six feet who wanders in at some point or another. The one in the dark ash grey sweatpants and a heavy knit sweater held closed by toggles. He pads up in New Balance sneakers and leans in the door frame. That’s from where Jim hears a bit of what is said.
What Serafine gets up to say - oh, yes, he’d seen that look of horror on her face and even lingered near the edge of that entrance to that living room turned into assembly area or staging ground depending on the listener to what’s being said. And he’d waited for her to pipe up and say what needed saying for whatever reason he has for doing so. Lets others give their suggestions and offers of aid and tracking down Keller, information on Keller, intelligence on the whereabouts of the movie, all of this.
And that’s when Jim clears his throat. Not for maximum effect, but because he’s taken a sip of whiskey-over-rocks and what he said will not sound so good with a spirit rasped voice. He clears his throad and swallows so instead his voice comes deep and smooth.
"Keller-not-Keller. Keller possessed? By whatever is in the film or whatever is on the otherside or whatever other minions might already be serving it on this side. Or maybe it’s Keller awakened? Which could just be the re-awakened avatar of the original filmmaker, the Hermetic we now know to be Montanaro, who was executed by his tradition, but whose avatar was left intact to awaken again. If that avatar was too drenched in jhor or subverted by whatever spirit he was trying to capture in there it might explain his hard-on for the film, for showing it, and for the resulting violence," and there are words that Jim says with an inflection. Not just because they’re the most proper of nouns or the terminologies of will workers. Instead with a heavy heart that comes from parted lips amidst mustache-turning-to-beard. Words that ring a little clearer than others because of his distaste for them. Words like violence that get the most careful attention. Caution. Seem to stir up the most inner conflict.
"If the film’s a gateway another could be created. If the avatar is a servitor of darker entities, it might not give up so easily. He might not give up so easily. If it comes to it and another incarnation of that life ends brought to an end what’ll keep from it awakening in another. And like it did 1949, and like it did this past September, it could all happen again," something he sounds loath to allow happen. He seems to worry about those hypothetical bodies this thing might leave in its wake in the future as he does the ones it already has and the ones it threatens all around him. "Putting this film behind a vault door doesn’t seem to be a long term solution anymore, though, so getting it back and handing it over to those who’ve lost it before? I don’t know if that’s a solution either."
"Sleepers seem to only get this thing so far, though, and there’s the chance he’s popped his head up just to get our attention. A few bodies to put Technocrats and the Traditions on his trail when we’re all so thin after the Reckoning. And maybe this easy-to-ferret-out cabin in the woods is just a way to get the kind of audience he’s going for - the right demographic - in one place for a final viewing. A final summoning," he ventures next.
"Scrying and spying are options. They definitely are," like he isn’t discounting the ideas entirely. But he continues in a way that says, I feel this must also be said, because he does: "But when you peek those you gaze upon might gaze back. No matter how careful we are. Or even that the Technocrats might tie us up in the mess we’re now tied up in, whether we like it or not. If Keller or whatever controls the film has enough skill with the magic or chance and fate it may help him know that we are coming."
"I have one proposition. If the Technocrats know of this film and may now be after Keller, we make a gesture in good faith. When magically empowered drugs were going around we recovered them to neutralize the threat it was presenting to Denver. We haven’t destroyed those drugs yet. Getting them to the Technocracy for them to dispose of says that we may not be so far apart when it comes to this. And lets us come at the Keller problem without having to look over our shoulder for mirrorshades with pistols,” looking around for reactions to this suggestion.
"Would any of us be able to neutralize his avatar? Have the will and know-how to do so? Or even to neutralize the film or whatever is inside or on the otherside of it if it is a door? And it makes this into an opportunity. A way to reach out and find common ground with the Technocracy. Establish a relationship with them when it comes to the common good. War hasn’t worked in the past," again that distaste. That caution. That discomfort at having his tongue handle a word like war. It doesn’t seem right uttered in his voice. "The last time we saw them in Denver they helped clean up a Nephandi mess. We can again show we're different, but no so much to need the cold war between us to heat up."
"It's an idea. A possibly dangerous one. One we don't have to even use," like he won't impose it on anyone there. Simply suggest it to see how the others who have come to the chantry deal with it.
"Either way, if we’re going at that cabin, I think we need to do it only when we’re ready to finish it. I don’t believe in violence or advocate it. If we could do this without having to execute Keller, then it’s what I would prefer. But I think this is a threat that needs to be neutralized once and for all. And my ears are open to other ideas as to how to do that," another flitting glance of his blue eyes over the room as he looks for who might talk next…
But remembers something. Speaks one last time:
"Oh. By the way, I’m Jim," and that’s where he leaves it. Nothing in the way of rank, title, or tradition. He speaks in sentiments and possibilities instead. Or at least has thus far.