axmods. (
ataraxites) wrote in
ataraxionlogs2014-09-08 12:00 am
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Entry tags:
- !jump,
- aaron doral,
- alex summers | au,
- alison hendrix,
- arya stark,
- benny lafitte,
- caprica six,
- captain hook (killian jones),
- caroline forbes,
- castiel,
- charles xavier,
- cora hale,
- death (discworld),
- derek hale,
- elizabeth of york,
- erik lehnsherr,
- fenris,
- firo prochainezo,
- gwen stacy,
- harry osborn,
- helena,
- ichabod crane,
- ilde knox,
- ivan,
- james 'bucky' barnes,
- james vega,
- jean grey,
- jennifer keller,
- josias st. john,
- katniss everdeen,
- kieren walker,
- lily potter,
- milagros gallo,
- peeta mellark,
- raven reyes,
- remus lupin,
- robin hood,
- sally malik,
- simon monroe,
- simon tam,
- taylor "tyke" kee,
- the warden (samara amell),
- zoe washburne
thirty-fifth jump;
CHARACTERS: Any and all.
LOCATION: Gravity Couches and beyond.
WARNINGS: Maybe some swearing, or even some violence, and more than likely some implied (and possibly explicit) nakedness.
SUMMARY: Another month, another jump, another round of new faces.
NOTES: You wake feeling cold and alone. There is a strange sense of emptiness, and the jump holds no surprises for you. There is nothing buffering the jump sickness and disorientation for you this month, and those still suffering the lingering effects of August's plot may find it more difficult than usual to get through the post-jump routine.
New arrivals will find messages spraypainted across their lockers telling them not to follow their tattoo numbers, and instead to find a room on Floors 001-010.
----------------
You wake up in darkness.
There's a breathing tube jammed down your trachea, and you're suspended in a tube of clear blue fluid. Upon registering your level of consciousness, the gravity couch drains the fluid surrounding you and retracts the breathing apparatus; the doors in front of you open, and you're deposited on the floor of a stark, sterile medical bay.
You are not alone.
There are others who have come before you, others who are awakening beside you. Some may be familiar to you, perhaps even friends. Others have much less amiable plans. Some are merely alien and inexplicable, but there are always those who might mean you harm.
After you catch your breath and your vision returns, you notice a number on the inside of your forearm. Maybe it's a familiar number. Maybe it means something. Maybe it's just a number. But the number—completely unique to you—is a tattoo, and it does not come off.
If you enter the room adjacent to the medbay, you will find a small locker with your number on it, surrounded by rows upon rows of identical lockers. Inside, you will find a few of your personal items, a communications device, and a ship's uniform in your exact size. The comms device is fully powered and connects directly to the ship's network; it's your only means of communication beyond physical conversation. Upon turning the device on, a neutral, automated voice will say, "Please take the blue lift to the passenger quarters." Any other attempts at communicating with the rest of the network are met only with static.
This is your welcome party.
LOCATION: Gravity Couches and beyond.
WARNINGS: Maybe some swearing, or even some violence, and more than likely some implied (and possibly explicit) nakedness.
SUMMARY: Another month, another jump, another round of new faces.
NOTES: You wake feeling cold and alone. There is a strange sense of emptiness, and the jump holds no surprises for you. There is nothing buffering the jump sickness and disorientation for you this month, and those still suffering the lingering effects of August's plot may find it more difficult than usual to get through the post-jump routine.
New arrivals will find messages spraypainted across their lockers telling them not to follow their tattoo numbers, and instead to find a room on Floors 001-010.
There's a breathing tube jammed down your trachea, and you're suspended in a tube of clear blue fluid. Upon registering your level of consciousness, the gravity couch drains the fluid surrounding you and retracts the breathing apparatus; the doors in front of you open, and you're deposited on the floor of a stark, sterile medical bay.
There are others who have come before you, others who are awakening beside you. Some may be familiar to you, perhaps even friends. Others have much less amiable plans. Some are merely alien and inexplicable, but there are always those who might mean you harm.
After you catch your breath and your vision returns, you notice a number on the inside of your forearm. Maybe it's a familiar number. Maybe it means something. Maybe it's just a number. But the number—completely unique to you—is a tattoo, and it does not come off.
If you enter the room adjacent to the medbay, you will find a small locker with your number on it, surrounded by rows upon rows of identical lockers. Inside, you will find a few of your personal items, a communications device, and a ship's uniform in your exact size. The comms device is fully powered and connects directly to the ship's network; it's your only means of communication beyond physical conversation. Upon turning the device on, a neutral, automated voice will say, "Please take the blue lift to the passenger quarters." Any other attempts at communicating with the rest of the network are met only with static.
ota;
Crazier.
She opens her locker and takes her violin out, still upset over the fact that it's now gold, and there's no one who can fix it, as far as she knows. The artistry would be incredible, if she didn't know that once it was wood - the grain is accented by rose gold, the bridge and pegs made of a lighter white gold.
But it's her violin and she wants it back.]
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he's beside her a moment later, clean and clothed and wholly uncomfortable with being out in the open. with the tablet buried inside him, he knows it's hidden from the outside world. but that doesn't mean he can ignore the possibility of its existence being discovered here.]
Seraphim.
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She doesn't think about setting the golden violin down. Instead she holds it in one hand and wraps her arms around his shoulder, and feels-
-and feels-
There is always a sense of completeness when she holds onto an angel, and it's not different now. Castiel, she wants to say, to breathe out his name, to press her mouth against his cheek, but she contents herself with a firm hug, and then parts from him long enough to set the violin down and find her slate.]
I thought you were gone.
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now though, he has no trouble returning the hug. no trouble taking what he needs from it; that comfort that comes from being in her presence. it's something he wants to keep for himself, even as she breaks that contact so she can talk.]
I was. [a glance down to his sleeved arm and--] Eleven jumps. I didn't mean to leave you.
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It's all right.
[She finally manages that, then touches his face a little.]
I'm all right.
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[because as oblivious as he may be to the intricacies of human behavior, it's impossible to ignore the sheer amount of pain and discomfort that those around him are facing. it's more than just the jump. more than the usual nausea that accompanies their waking up routines. he just can't pinpoint a cause.
despite his question though, his attention is on their surroundings. on their lack of privacy. he doesn't want to be out in the open any longer than he has to. but leaving seraphim behind isn't an option. not again. which is why there isn't any warning, isn't any permission asked, before they're in his old room, violin on the table and sigils still intact enough to keep them hidden.]
Were you hurt?
[a continuation as though the relocation hadn't just taken place]
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I got sick. We all got sick.
[She pauses and then she's pressed against him, half in his coat, still writing. It's comfortable, there.]
I thought everyone was going to die, but then they figured out how to fix it.
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[it's a muttered apology; the very least he can say for not being there for her. again. for leaving her to suffer. to be afraid and on her own. his arm is tight around her, keeping her close and with no sign of letting go any time soon. his free hand comes up, palm resting against her forehead momentarily. enough to try and get a reading on just how well she is now.
it's a wasted effort though, he knows that already. he doesn't have anywhere near enough power left right now to fix anything he could potentially find.]
How are you feeling now?
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Lucifer is here.
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[he backs away at that; enough to get a better look at seraphim. to keep himself from hurting her as his hands curl in to fists and his body tenses up. of all the people who could possibly turn up here--]
From your world?
[or another? his? he doesn't know which option is worse.]
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It's not that simple.]
From yours. I think he likes me. Well, he...is interested in me.
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[an understatement, of course. and doubtlessly something she's already well aware of. humanity itself knows how big of a threat lucifer can be. but his reasons go further than just the stories shared in the bible. he still remembers how it felt to be torn apart; to see the face of a friend holding the grace of an enemy. the brothers had suffered. heaven had been torn apart. and now--
lucifer. he's aboard the tranquility too.]
Does he know what you are?
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He knows I'm the Throne. He doesn't know about God.
[She has tried to keep that from him, and so far she's managed. It's been more than just a matter of keeping her mouth shut.]
He turned my violin to gold.
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Lucifer is stronger than I am. [he was an archangel afterall] If he chooses to come after you--
[well, he'll do his best to protect her. but he knows that he wouldn't last long in that fight.]
There's a way to hide you from him. But it's painful, and it would hide you from all angels. [himself included. it may be selfish, but he doesn't want that]
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No, no, I just got you back!
[And then she goes quiet, closes her eyes.]
Would it even work on me? I have God inside me.
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As long as I'm here, I'll hear you. I'll always be able to find you if you call for me.
[because she's impossible to ignore, even if he tries. even when he wanted to keep that distance all those months ago.]
I don't know if it would work. I don't know if He'd let it.
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Please, stay, please don't make it so I have to call you for you to see me.
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and then there's the tablet--]
I want to stay with you, Seraphim. But there are times when I won't be able to.
[he had been a member of security before he left too.]
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She nods once, just once.]
But you won't abandon me again, right?
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[a variation on his previous promise, but one he'll do his best to stick to. he doesn't know what's going to happen during their stay; there's no way he could. but he can at least try to stay by her side.]
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Okay.
Okay, I believe you.
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We both need to rest.
[because there's nowhere else he'd rather spend the night than resting alongside her again]
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So she takes his hands, too, and presses close to breathe in the smell of him, and then her arms are around his neck for a hug, before she's tugging on his coat, to get it off so he can lay next to her.]
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there's a moment spent looking between seraphim and the bed, before he's rethinking his plans.]
Do you need to go back to your room first?
[for something to get changed in to.]
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And she can sleep in it, so she shakes her head, and reaches for him again, to tug him onto the bed with her, to try and shape her body against his, in a way that's comfortable. She just wants to sleep. It's been a long time since she's had someone to watch her do it.]
(no subject)