charles xavier. (
forgodssake) wrote in
ataraxionlogs2014-07-12 03:04 pm
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oo6. closedish.
CHARACTERS: Charles Xavier and Severus Snape; Remus Lupin; Emma Swan; Nuala; Rogue; Johanna Mason; Odessa Knutson; Erik Lehnsherr; Captain Hook (Killian Jones); Hank McCoy; Raven Darkholme; Cassandra Anderson, others as they happen.
LOCATION: Level fourteen, room one hundred; laundry facilities; bar on level fourteen; kitchen on level fourteen; the Gardens; media library; level twenty, room one-hundred and ninety two; others as they happen.
WARNINGS: TBA.
SUMMARY: Adjusting to being a different person is a struggle.
NOTES: This is only partially closed. I'm using this as a forum for people to poke him, as random run ins may happen as I tag out instead. Please let me know if you'd like to do anything, and I'll be happy to set up a thread (unless you're feel ambitious).
to ever spend my life sitting playing future games
LOCATION: Level fourteen, room one hundred; laundry facilities; bar on level fourteen; kitchen on level fourteen; the Gardens; media library; level twenty, room one-hundred and ninety two; others as they happen.
WARNINGS: TBA.
SUMMARY: Adjusting to being a different person is a struggle.
NOTES: This is only partially closed. I'm using this as a forum for people to poke him, as random run ins may happen as I tag out instead. Please let me know if you'd like to do anything, and I'll be happy to set up a thread (unless you're feel ambitious).
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Because the way he sees it, that's all there is left. That, or letting him be. This sort of black and white equation is not articulated, not even in his head, exactly, but there is the sense of it. Severus' disgust, his failure to understand what Charles has done, and hers as well, apparently.
Fffuck it. He takes up the cigarette. He's just going to have to find more, ones that aren't Snape's.
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--not on him, either, even when that's all he sees there is for her to do.
"We can fight if you'd like to," she says, a bit more wearily. "I don't want to go yet. Come and try these shirts on."
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A moment of genuine confusion. Shirts. And he's not stopping himself from digging up the matchbook, even if he doesn't go ahead and light up immediately. It is highly unlikely he's going to try any shirt on, some strange reserve about the idea of even getting undressed halfway in front of her, or anyone, adding more concrete to stagnation. The look he deals her says all of this and more.
It turns into studying her. It's not quite pity. He doesn't have the room for that, exactly.
"Every few days," he says, finally. Almost a challenge. "The serum. Sometimes it'll stretch to a week, but then, you know, it comes back. Creeping, like a nightmare, voices and thoughts and a bloody headache. It was almost worse than when my legs went. I didn't just take it once, the serum, I had to do it all the time. Intravenously. It takes effort."
Now he scratches out a flame, and touches it to cigarette. "Let's not pretend I'm just being difficult, now, shall we."
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It wasn't supposed to be a fight. It was supposed to be to check on him and to deliver the shirts she'd finally finished to her satisfaction; she has a similar parcel for Severus, which he'll receive whenever he takes her up on her invitation to spend a bit of time with her after all of this. (She trusts that he will, because he agreed to and he sets store by that sort of thing and by the formidable history of her.)
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It streams out through his nostrils, forcing it aside. One indulgence, in trade for another.
"All right," he says. Of the shirts. "Bring them here."
He says, to the Queen. Its a bit reflexive. He's only had Hank for company for a long while, and even when he could get up for himself--
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It isn't much, against what the ship might throw at them. It comforted her to do, all the same.
"You are still my friend, Charles," she says, abruptly, sitting down beside him. "I won't pretend that I understand what you've done to yourself, but you are my friend and I care for you too much to set you aside because it might be easier." For both of them.
She never does much the easy way.
(Probably the 'Gondorian drunk' look will actually make these look a bit less out of place on him, so, you know, there's that.)
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"Refreshingly frank," he repeats. And then; "These are very flower child."
Which is not really a criticism, even if he could be rhapsodying thank yous, as he would have done before. But his fingers touch craftsmanship. He feels as though he is touching something from another life, and so lapses into quiet, aware of her next to him.
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"I thought perhaps particularly now." Something-- different. Unconnected to his life before or after; that she might have less than pleasing connotations in and of herself, now, is not something she'd considered and unlikely to be something she'd think of without prompting. "I know the shape of you, they will fit-- I worried a bit, if you hadn't been eating."
But he says he had, and so.
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There we go. Not all decorum has slid down to the bottom of the proverbial ditch, him along with it, even if it's just because the silence otherwise demands to be filled. He folds through the shirts so that he can look at each one, letting them fall back into place. They aren't representative of some 'before' period of his existence, but they were intended for that man.
A sweep of hair is nudged away, back behind an ear, a ghost motion of preening. "You think he did the right thing." This isn't blisteringly accusatory. A little curious, maybe.
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When she'd come to bully him back to work and it had gone-- slightly differently than planned, if not displeasingly so. (Quite the opposite. It had gone exceptionally well, thank you for asking.)
"Would you be so much more enthusiastic, were I to take my part as I did then?"
She doubts that very much.
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There's a leaden quality to that, and inarticulate feelings are just made out beneath the surface. Resignation and resentment wind together, restless, disconnected from reason if only because he isn't thinking about it, as little as possible. Especially while she's here.
Charles folds his new shirts loosely.
"I was reluctant because I'd killed people."
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Her instinct with him is impatience where she might make more allowances for someone she'd shared less intimacy with (sexual exploits aside - the things on which they've bonded let her forget, sometimes, how much distance time and species puts between them and their experiences).
"There," a moment later, not quite bracingly. "He has made a choice and you don't wish to have me persuade you to challenge it - so I trust his judgement, and yours."
(Mainly his.)
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The shirts are set aside, and Charles goes to pick his cigarette back up. His slowly closing off is almost palpable, from the listing aside of body language, his focus turned on burning ash, to the almost crabbish withdraw of thought and attention, crustaceous defense against pecking.
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"His professional judgement," she says, eventually. "I won't dispute that choice with either of you." Presently. "I understand, as well, why he chooses as he does personally," how it pains him, how he'll never say as much and accordingly how she chooses not to do so explicitly in his place, "but his needs and mine are not the same. His personal choices are not my own."
She doesn't condemn them, that's clear; doesn't disagree or sit in judgement. What Severus needs to do in response is what Severus needs to do in response, and that she can see how it hurts him - she will support him, where she can. He doesn't make it easy to do so, granted, but there are things that they share and she is grateful, in her way, that he allows her to be with him in this. She imagines it isn't easy to allow even that much, side by side in their unhappiness.
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That is more facetious than seriousness, but nothing about Charles right now is not hooked down with implication and the unknown weights of the past. The tapping of ash is a little sharper than it was before. "I made a choice as well.
"And you've the nerve to look inside my head and not understand it," is more personally scathing, a lazily delivered swipe though it is. "Perhaps that's where we differ too."
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It simmers just beneath the surface of her and he doesn't need any more complex gift than twenty-twenty vision to see. Her composure is hard won over tempestuousness, and the latter is rather more easily drawn out.
"I'd forgotten you understand all things you look upon," she returns, and she'd be extremely vexed to be described as 'peevish', but it's what she is. "Would that you had that gift to call upon now, and could make sense of things for my inferior woman's mind."
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"There's nothing inferior about you, Nuala," he states, and it doesn't really sound like a compliment, necessarily, no attempt to stay the fires of her own anger, even keyed down ones. "I think that's part of it. You and Snape both, from your magical worlds."
She has scars. He knows. He doesn't know if she had ever succumbed to them, or to indignity, or to being the worst of herself. "Mine has limits. If you're going to look, then look harder, or-- just leave it."
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She looks. He invited her.
"I see nothing--" and if she were the worst of herself, then she'd stop there, angry and petty and unkind, and that she takes her breath in that moment is a hint of it, of how much ugliness she is just as capable of as he is, "--to tell me that this stillness of yours is not but another death." His, slowly; others, quicker.
There are other things she might say - hurtful, angry, telling things - and she almost does, so much so that he can almost hear them, half-formed and unspoken, through her hands on his skin. Will he tell his people he was too sad, when they fall? (Let it end, cradling her handmaidens as they wept, drums in the distance and her own heartbeat a traitorous assurance that her dearest had not fallen that day; let us fade, blood dripping from her nose, guilt and weariness pressing her early into the tomb her father built out of their kingdom, dust and myth already. Nuada's rage, his contempt, how badly she'd wanted to haul off and punch him hard in the nose like that was going to fix anything.)
She says, "I will not be made to turn away first to satisfy you," tightly, and she has always cared fiercely when she cared for anything at all.
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Charles remains as still as a caught mouse between the paws of a cat. He doesn't need telepathy to sense the tension of her own, lashing about inside her, or maybe he's just imagining it. The things unspoken, what Snape had said
what Charles has said to himself
and he waits for her to say it too. But only biting nails, and the words she chooses. (It is a relief.)
"I believe it," he finally presses out. He could say something more graceful and appropriate, but that seems all there is room for. A demand that he pay attention.
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Nuala very rarely says anything she doesn't wholeheartedly mean, after all.
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So released, a levering push sets his back against wall, away from her. It occurs to him to be offended that his negating his power equates him to a dead man.
He realises in time that that's being obtuse.
So he stays quiet, watching, composure gripped with the steel he has left.
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And besides, it's more of a long-term strategy than an immediate solution.
"I'm ought to be past temper tantrums," she says, eventually, in the tone of someone who is not terribly surprised to find that she isn't. It isn't an apology (she isn't sorry), it's just a silence needs filling.
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It's just been that kind of week.
He swallows as she fills the silence, shifting now to pick up where his cigarette was dropped, blinked out to dull, setting it aside on the stand rather than going through the ritual of relighting it. Equally, impulse to touch where golden nails put temporary punctuation through the scruff of his jaw is suppressed.
"This room has that affect on people."
It's sort of an invitation to leave, but that only occurs to Charles after he's said it, having just been filling the silence himself. To make it explicit; "When I feel well, I'll visit." It's a concession, an offer, unsure if he even will be able to fulfill it -- what with the imperative being feeling well -- but it's there.
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So she refrains. And she hesitates - is irked, briefly, by the inability to do this more gracefully - but concedes in turn, rising slowly, as if she hasn't fully committed to it.
"I will expect you to," is slightly more firm. It's a small thing, but it isn't nothing and it's more than some
Severusmanaged to achieve; she makes herself take it in good faith.no subject
But there's no particular falsehood, humouring or not. He can't stay here forever, after all.
So he nods, once, posture shifting to settle.
(no subject)