@redaches | starter | Flick
It always sucks to get Called to a town. Even a tiny one in fuck-all-nowhere Virginia where phones don’t work and Flick’s pretty sure most of the people have never even seen, like, a Starbucks or whatever. In fact these ones might be the worst of all because a small town like this? Chances are people actually know each other, talk to their neighbours and all that shit. It’s not the sense of community Flick has a problem with, that’s fine, but if she’s here then that means something is terribly wrong-wrong enough that not all these neighbours and pta mums and folksy diner owners are going to survive. She feels like a harbinger of death, of doom; the fifth horseman of the apocalypse dressed in platform boots and ripped jeans.
Best case scenario, there’s something living in the woods she can deal with quickly without any collateral damage. Worst case scenario this whole town is in on something, like that death cult back in Nebraska, and she ends up having to fight people instead of just monsters; not that the difference is always as clear as she’d like.
She’s in the towns one and only diner, dunking her chips (fries, whatever) into her milkshake and trying to decide if the weird looks the waitress is because she’s in on something, or because she’s just never met anyone goth or Scottish before. A bell above the door jingles and she turns her two-tone gaze to the newcomer. A kid, mid to late teens maybe? Either way he’s a good a place to start as any. Kids are usually always a safer bet than adults-that one time in Nebraska notwithstanding.
“Hey kid,” she calls out, keeping her voice slow and doing the best she can to make her thick Glaswegian accent more accessible for the American ear, “you got a minute?”













