𝚕𝚊𝚗𝚌𝚎 𝚗𝚊𝚟𝚊𝚛𝚛𝚘 , 𝙩𝙝𝙚 𝙢𝙞𝙢𝙞𝙘.
𝚏𝚘𝚛𝚖𝚎𝚛 𝚕𝚎𝚊𝚍𝚎𝚛 𝚘𝚏 𝚝𝚑𝚎 𝚎𝚗𝚒𝚐𝚖𝚊𝚜 . 𝚊 𝚖𝚊𝚗 𝚞𝚗𝚖𝚘𝚟𝚎𝚍 , 𝚞𝚗𝚖𝚊𝚜𝚔𝚎𝚍 . ↣ 𝚍𝚘𝚜𝚜𝚒𝚎𝚛 & . 𝚙𝚕𝚘𝚝𝚕𝚒𝚗𝚎𝚜 .

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@masquard
𝚕𝚊𝚗𝚌𝚎 𝚗𝚊𝚟𝚊𝚛𝚛𝚘 , 𝙩𝙝𝙚 𝙢𝙞𝙢𝙞𝙘.
𝚏𝚘𝚛𝚖𝚎𝚛 𝚕𝚎𝚊𝚍𝚎𝚛 𝚘𝚏 𝚝𝚑𝚎 𝚎𝚗𝚒𝚐𝚖𝚊𝚜 . 𝚊 𝚖𝚊𝚗 𝚞𝚗𝚖𝚘𝚟𝚎𝚍 , 𝚞𝚗𝚖𝚊𝚜𝚔𝚎𝚍 . ↣ 𝚍𝚘𝚜𝚜𝚒𝚎𝚛 & . 𝚙𝚕𝚘𝚝𝚕𝚒𝚗𝚎𝚜 .

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"i can fix him" Bitch you're worse
Animal Kingdom + In the Red (3.02)
⋆ BLADEBENDER .
𝚛𝚒𝚟𝚊𝚕𝚒𝚜𝚑𝚚, + open starter.
with: anyone ! location: foyer / heading towards the bar.
reality aches towards precarious. a balance quinn tried desperately to maintain began to reveal cracks; dreaded vertiginous sense that came with his stomach dropping at the sight of his childhood home. [ no headmaster waiting for a report, budding teammates alongside. it’s low hanging lightning + a congregation of flashing bulbs. ] fight for a steady composure against the current, feeling greedy hands grasp at the seams, searching for a loose thread to tug. it’s an event quinn had, admittedly with misplaced faith, hoped would never happen. figured knox’s ingenuity would absolve him from the inevitable -— be there to guide quinn through the murk of it all. but fate + heart complications refuted, otherwise. front door slammed with outer layer shrugged off, feel immediate guilt weigh down the armour that comes in the form of a black suit. edges worn like it’s owner, altered to safely hide holsters, throwing knives at the ready. old habits died miserably hard.
attempt to avoid nostalgia like some old friend. the afternoon was meant to comfort others, balance trepidations with steadfast. [ grievances were already dealt with a cheap bottle + a late night in the office. brushed off under the label of minor feelings, someone had to keep pieces together. ] grey hues caught sight of the bar across the opening of the dining room. one drink to bring himself steady. movement breaks into callous actions, an accidental collision of shoulders. ❛ christ -— ❜ it’s instinctive, spit out the name to fill missing gaps. heels turned, features contort into a sheepish apology, ❛ sorry, my bad. i just . . . haven’t seen the place filled with so many bodies in a while. ❜
He knows that voice.
Of course he does, of course he would—he's been playing it in his mind something bloody. Lance hears that Christ, half broken-off, half battered, the word he'd drawn out from Quinn in so many ways, so many settings, and he doesn't know how he can get through this. His throat constricts. It squeezes around the sound like anticipating the punch. His shoulder feels singed where Quinn knocked into it.
He can't even look at him. Thankfully, he doesn't have to. The layout of the bar shields them from the brunt of contact. The lobby allows for little elbow-rubbing. It's as if this house, this cavernal and calloused hall, knew beforehand that its residents will not want to come together. The Knox estate is a place built with distance in mind; built on the very bones of loneliness.
He feels like he understands Quinn better, now. He feels like he understands everything, everything and nothing at all.
There's no way to say it. Maybe there never was.
With people all around, with their families bracketing them like frontline defenses, like a metal casket raised to hide something radioactive, Lance is hand-tied. Tongue-tied. If he's honest, here, which he tries not to be, what with his strict diet of self-delusion—but if he were to be, against doctor's orders and better judgement, he'd admit that's not true. Their families have nothing to do with it. He'd still be stone-faced if they were alone. He'd still be unable to say sorry, to say anything that could bridge the gap. Even if it was just them in the whole world. It'd take doomsday, and he still couldn't get the words out. And so, Lance does what he does best: he acts. He pretends they are strangers, now, forever. He steels his body the same way he would if another one of the Oculus poster kids approached him. It goes... well. It goes. For all that Lance has staked himself on acting, built a hideout inside it, he never found it as hard as he does now.
In a way, it was never quite as easy, either.
Finally, after a silence that makes his teeth knock together, he rounds the bar and approaches Quinn. His heart goes double-time. He can smell the booze on him, just a faint layer under the press of silk. He can smell the exhaustion and the tinge of fire—not his powers, no, not that inhuman tinge they streaked across his skin, but something more mundane. Chimney and soot. The smell of fall and gathering clouds. It drives him mad, really. It drives him half wild.
It's two seconds into this meeting that he realises, honestly, honestly, that he won't be able to be normal about this. He grips the edge of the bar and leans down on it. People will be watching, he knows, he knows. He always thought he cared little for that part, far less than most of his kin, but he's never reached this level of carelessness before. This sheer indifference, this disregard for anything except the present moment. It could be doomsday. The world could burn. It wouldn't matter. He tilts his head. Slowly, Lance tips himself back to regard the other.
"Bodies? That's what this is to you? Not people, then?" He pivots to the side. It's too late to put distance between them, but at least he can save face, hold onto the dregs of pretense. "And they always called me the cynical one." There's something like a huff of laughter, at the next words. His tongue stumbles over them, clashing into the vowels. He gives it a wide, long lilt, to show exactly what he thinks about this farce. "Pleased to meet you. I'm—I'm Masquerade."
STATUS : open to all ! PREMISE : the wake at the oculus residence !
The inner courtyard is deserted. It feels hostile, and hollow in a way that has nothing to do with death. It’s not a ghost—nor the setting stage to one. Rather, a door left half open. The emptiness that sleeps here isn’t owed to a sudden departure, but to each absence gathered over the years. Children leaving, children never looking back. Lance knows these smaller hauntings, he knows them both too well. He wouldn’t be surprised if the Enigma house had a part that showed it all the same. The wrecked aftermath of departure.
He cuts across the wind-swept path. On either side of him, the larchwood bower parts and gives into an opening. The square is hidden by the greensward, rising on a slight incline. Inside, two benches face each other under a red brick wall. Lance doesn’t need his training to tell someone is already here. Of course. They would be, wouldn’t they? This is the best hidden spot on the estate. It’s also where the past is at its most inescapable.
When he squares his shoulders and puts his mask back on, it isn’t some sixth sense that makes him do it. It isn’t battle instinct, either. It’s just avoidance: he has a deep awareness of it, one that precedes his Enigma years. He learned to hide before he learned to fight. He clears his throat, once over. Then again. He lets his steps tread louder on the foliage. He makes himself sure to be seen, just as intently as he’d do the opposite.
He doesn’t have patience for a lot of things these days, and he has even less reverence—especially in the enemy’s goddamn den. But this, this safekept loneliness, this licking of wounds? This is something he knows. He respects it more than the living, more than the dead.
“So,” he begins, the low drawl. “Should we roll a dice on it? Who gets this hideaway for the next half hour?” His head peers out from behind the bower. He emerges on the next step, arms crossed, mask slightly loose, and faces the other in full. “Rock, mutant, scissors?”

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ARCADE.
open to all
“I’m moving all the cheap booze to the dining room table, wanna help me?”
At that, Lance looks up. His interest congeals in something colder. “This is the cheap stuff? Damn. Your puppet master dies, and you couldn’t even break out the good cellar. ” He lets a gesture fly, an under-hand swipe towards the bottles. He tucks his chin in. “Hm. Thanks for the warning. And here I was, thinking your lot was supposed to be the upper crust.”
Jon Bernthal as Michael Berzatto The Bear (2022)
Faces, June 2019 Photographer : Puria Safary

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Red Riding: The Year of Our Lord 1980 (2009)
KILL YOUR DARLINGS 2013, dir. John Krokidas
Munich: The Edge of War (2022) dir. Christian Schwochow

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