charles xavier. (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
forgodssake) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
ataraxionlogs2014-07-12 03:04 pm
forgodssake) wrote in ataraxionlogs2014-07-12 03:04 pm
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).
no subject
The question from Charles doesn't make sense. That's what Hook's meant to be asking, and exactly what he'd intended to ask ever since he'd heard the other man's name. The solution is to simply draw out the conversation, of course, and see how things fall into place.
He's careful to meet Charles's eyes before he continues, though his tone remains relaxed. ] I was going to help her steal it.
no subject
Back again. ]
She talked you out've it.
[ He stands corrected.
(It's almost entirely instinctive, to pick up a conversation, and possess it for himself to best direct its course, but he is also out of practice in keeping hold.) ]
no subject
But it'd been a problem at the time, and he's nothing if not great at holding onto a grudge. The distance makes it easy to keep the casual facade going, at least. ] Funny thing is, she couldn't quite explain why.
[ Just a name. Reading Emma Swan has always been something of a talent; that discussion had been a complete blank, though, no discernible logic to it, and perhaps that's why he won't just let it go. He says it like it's a bemusing observation. There's no accusation in his tone, and when he narrows his eyes thoughtfully at Charles a moment later, he even makes a pass at sounding concerned. ] You're looking a bit green, mate.
no subject
He can see that this is façade, and all at once, he needs Hook to stop, snapping his next few words at this new pretense of concern; ]
You should ask Emma Swan.
[ An exhale leaves him, not quite a sigh, but a release of tension. ]
She wouldn't have understood at the time. None of us did. The Tranquility wanted us back, and it's what it got. Though I dare say it saved your sorry arses from getting stranded and dying in the depths of space, whether you appreciate it or not.
climbs back
Easy, mate.
[ The address is repetitive, made inherently sarcastic for it. That's in response to the quick snap, but his expression darkens somewhat as Charles continues. The interest is less personal, this time; it's the mention of the ship that's got his attention, though the dig at the end does earn a slightly irritated look. ] You think the ship did something to her.
[ Of course it did. The ship's been messing with them since day one. The question's more pointed than the open phrasing would imply, tangled up in the memory of the hallways— or the lack of memory, rather. It's been spotty since he got back. What he does remember is enough for the implication in Charles' words to strike a familiar nerve, the idea of the ship outright controlling them, changing them, and he's too distracted by the thought to follow up on his initial line of questioning. ]
embrase
It's almost correct.
He can see Hook divert, he can see the way out. Maybe if it were anyone else, if it wasn't Emma, Charles would let it slip on by. (He doesn't have a lot of friends left.) ]
The ship did do something to her, but she fought it. It did something to me, as well, and I didn't, and I convinced her otherwise. I didn't know exactly--
[ A hand waves, gesturing to Hook, lazy. ]
--about her little getaway plan, I hardly listened. Which is all what you wanted to ask me, [ is added, with a touch of impatience. ]
no subject
There's a long pause, and when he speaks again the facade's entirely dropped. No false civility, no nonchalance. That's not to say he's openly hostile— there's a darker edge to his expression, more open sarcasm to his voice, but that's the extent of it. ]
Then I suppose I owe you my thanks. [ Another pause, brief, and the continuation's flat, deliberately cold. ] For saving my sorry arse.
[ He's not grateful. He's fine with the current situation. As fine as one can be, in any case; it could be worse— a few hundred years in Neverland, this place pales in comparison. But he's not about to give honest thanks for someone else's meddling. Another quick look over Charles' disheveled state, then: ] I'd suggest you lay off the rum— wouldn't want to do anything you'd regret.
[ Patronizing and dismissive. If he'd considered Charles some kind of threat before he'd met him, that isn't the case now. ]
no subject
A hand splays. Apology. For laughing. For this conversation.
That echo of dismissal is becoming the norm and he actually does want to apologise properly but it was a really long time ago and he's already cocked it up. Oh well. Not being a threat is all he wanted, once. ]
You're right, I should, probably. And no, you don't owe me anything.
[ That's the closest he can get to a sorry, really. The acknowledgement that his interference was only that: meddling. That he feels as though he is no longer having two conversations at once only belatedly puts him at better ease.
Soberly; ]
At all. Including your concern, [ is added, presently, not actually meanly. Permission to move on. ]
tl;dr brackets sorry :')
The truth is that he's bemused, of course. Unsure of what to make of Charles, of the conversation, of the fact that Emma took the advice of this man over anything else.
That permission to take his leave doesn't go unnoticed, either, though he doesn't act on it immediately. His previous comments qualified as a passing concern, at best, just a chance to make a belittling dig. But Emma had listened to Charles, and for whatever reason that's less easy to dismiss than the man himself. Hook may not give a shit, but Emma certainly will. It's almost enough to encourage a more honest attempt at sorting Charles out.
Almost. The thought's right there, at the tip of his tongue. He doesn't voice it. Instead there's just a quiet pause, a clear moment of indecision before he takes the out. ]
You're right, I don't. [ And the false smile's back. Practiced, but so obviously fake after that small mess of a conversation that the sarcasm's impossible to miss. It's not the only thing that's forced, either. The blatant disregard, ignoring that impulse to care— it's about as natural as the smile. ] It's been a pleasure.