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Blood & Bourbon

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Story Ten, Emil III, Emmett IX

Emmett's Flight

“The Catholics’ greatest hubris was in assuming that their sin starts in their hearts and ends in a confessional.”
Emil Kane

Thursday night, 2 April 2009, AM

Emmett: “Whoa. Did she…”

Em glances around. “Did you see her go?”

Emil: “I—after today, Emmett, after you leave this room, after you get down off this high, you need to know that none of this happened, your drugs were laced with psychedelics.”

Emmett: Em eyes him. “You want to stay here for when she comes back?”

Emil notices his Action Bill and the Danger Squad boxers. They’re super rare.

Emil: “I’ve turned off the feed for my associates. It doesn’t exist anymore, nothing onward.”

“But I’m watching it now.”

Emmett: “Well, if you want to watch it here, you’ll share. And you’ll stop talking to me like I didn’t save your fool life.”

Em sits on the couch, his legs spread. “Your guy under there want a drink?”

Emil: There’s that same buzzing in the man’s earpiece, then he picks up the laptop and types the words No, but thanks for asking, Emmett, into a text document which he turns so Em can see it.

He types a few more buttons and the stream of the house opens on Emmett’s television. He goes to deadbolt the door, his earpiece buzzing the whole way through, and then he returns to his seat.

“All right, let’s see what she’s doing to that monster.”

Emmett: “Sounds good to me.”

He tries to ignore the surreality of Emil’s face on somebody else’s and focus on the feed.

“Wait, is she… already there?”

But that swiftly becomes the least of his questions.

GM: They watch it all play out.

It ends with Celia blurring out of the house with her mom held like a limp potato sack.

Emmett: “Fuck.”

This is real. He knows it’s real. Emil’s snark aside, he can tell the difference between a bad trip and shit that feels like it should be a bad dream.

He’s been in a bad dream like this before.

“Fuck,” he says again. “She’s a superhero.”

GM: It seems like an open question whether he ever woke up.

Emil: “If you ever let any one know, they’ll kill the both of you,” the voice says robotically.

Emmett: “Which they? The X-Men?”

Emil: “Do you care about her, Emmett?” It’s spoken genuinely.

Emmett: “Apparently,” he says, surprising himself. “I’m more worried for her than scared of her. So I guess.”

Emil: “She trusts you. Should she?”

Emmett: “Why shouldn’t she? She’s the most interesting thing to happen to me since jail.”

Emil: “Because you have a history of lying to people you care about. Of hurting them,” the voice says bluntly.

GM: This has happened before.

Emmett: Em takes a slow drink of the tea Celia didn’t touch. Then he says, “You seem to feel awfully superior to me, for somebody who talked about starting a religious movement with me at the center. And who wouldn’t be alive if I hadn’t decided to put myself in jeopardy by helping.” He gives Emil an icy, icy stare through those red eyes. Wherever he is, whatever dark hole he’s hiding in to forget about all the people he’s fucked over, the man feels cold. “I’m going to say it one more time. You’re not going to question my relationships, Kane. And I won’t question yours. Not if you want anything from me, ever again. Not if you don’t want me to bad-mouth you so hard to Celia she cuts ties with you, too. You understand that?”

“Because if you don’t, there’s the door.” He points.

GM: The video keeps playing in Celia’s room.

All of it.

Emmett: “Fuck,” Em says, again. He’s too numb to be mad at Emil. “Wow. She’s… wow.”

GM: Isabel laughs.

Emmett: He finds himself, absurdly, reaching for not-Emil’s hand. He needs to touch someone. Needs to know there is something more than this.

GM: Isabel laughs and laughs and laughs.

“Mm-mmf y! Mm-mmf y! M-myy-mmm-f-y!”

Emil: There’s a buzzing in his ear, and then not-Emil grips Emmett’s just as tightly. “I’m so sorry, Emmett.”

The static sobs.

“-I really am.”

Emmett: “Yeah,” Em says, watching. “Me too.”

Then he says, “She’s going to need friends. Celia. After this.”

Emil: “She needs better friends than us. But we’re what she has. So we have to do bett—”

Then there’s the sound of footsteps from the television, and Emil goes silent.

GM: The two men see their source.

Enough of it.

Then the camera shorts out.

Emmett: “Shit.”

Emil: The image runs back and forward in time, and grayscale tears rip across as the screen. And then it pauses on the final frame.

On that face.

GM: Maxen’s face.

Emmett: “How.”

“The house. Her sister. We need to call 911. Can you bounce the call, or something?”

Emil:They have arrived.”

A buzz sounds. The man who is not Emil points a gloved finger at the devil’s face.

“He owns the police.”

They own him.”

Emmett: “Not the police,” Em says. “Ambulance.”

Emil: “Everything is connected. Everyone is listening. Hell is empty and the devils are all here.”

Emmett: “Can you do it?” he asks again. “The girl. Maxen might not.”

Emil: “There are rules about this, Emmett. They don’t want to be seen. They don’t want to be known. The fewer people involved, the fewer people die.”

Emmett: “What they. They who.”

Emil: “The Catholics’ greatest hubris was in assuming that their sin starts in their hearts and ends in a confessional.”

“Sin gestates in the gutters of the church. Sin mingles in the sewers with the discarded holy water. Sin dives into the depths to take form.”

“And one man or another stares down into the abyss. And eventually, Sin stares back.”

The quiet erupts into the sound of the darkest depths. Maxen’s face shatters into an avalanche of snow, and white noise swallows all.

Emil: The snow undulates on the screen, a great sea parting and coming together. The black gaps that are torn open when the sea parts are alive and filled with mouths, stretched wide open by ink-covered hands until the jaws threaten to snap apart.

The gestalt cries out at Emmett.

It screams for their mothers. For their fathers. For Gods they forgot to believe in. For the sins they’ve carried out and forgotten to admit. For all the pain to end; for their mouths to finally shut.

But it is the nature of the gestalt to lose all self. For all the screams and prayers to be shunted into meaningless babble. Everyone screams for the same things, but nothing is heard. Nothing but white noise.

The waves of static crash into the dark mass of writhing mouths, smothering their cries. But another window into the darkness is opened as the static shallows.

The screen focuses not on the gaping mouths within, but on the precipice of the writhing shallowing of darkness. There’s a fishing boat riding over the static, standing precariously close to the edge. And beside them juts an island out of the waters. Atop the island, which is covered in shining jewels, sits the Fisher King on his ivory stump, his crown nearly slipping off his head.

The fisherman throws his line into the great maw of the dark, and from the writhing masses pulls a single screaming mouth. And the mouth has a face that appears when it comes flailing out of the water into the static. It’s bald and ugly and red-faced. The fishhook stabs through the man’s head.

The fisherman examines the bald thing on the hook as it tries to extend a suited hand. It looks pathetic, for surely it knows it is too late to make deals. He’s already hooked. The fisherman holds the man in his arms like a babe, then brings him to his face and opens his mouth, revealing two blood-red fish-hooks jutting out of its roof.

He bites through the man’s chest and rips his heart out. It’s bound with tight ropes. He crushes it with his jaws, and oily black fluid spurts out all over the boat. A drop or two falls in the bald man’s mouth as his body drops to the deck of the ship, his arm still extended, waiting for a handshake that will never come.

The screen floods with the static snow.

Then, a voice befitting a nature doc narrator speaks in dulcet tones, “Peredur lived among witches when he found his one true love…And the Fisher King’s servant brought out the head to Peredur on a platter, who waited far too long to act on his destiny. And the head was that of his cousin. And Peredur learned he was in the line of the Fisher King, and rose to action, for he found his cousin was killed by the witches, though some say it was witch hunters, for Peredur sought them for his king’s acceptance.”

“And the servant who held up that platter had little respect for the young Peredur, for Peredur knew little of fishing, while he had fished for generations. Some say the servant made deals with witches to better understand the fish, and that in the moonlight, his eyes were unlike that of any human. Instead, they were like those of the hungriest of sharks.”

The audio commentary melts into something grainy and unintelligible, and then Emmett sees something else forming on the screen.

The waters are black as they gush from the bound heart. The moonlight reflects off them, reducing their cusps and contours to streaks of moving light.

It’s far too quiet now. The sound of the white noise dulls his senses, stuffing his ears with cotton and blinding his eyes to seeing anything beyond rectangular specks of black and white. Something is waiting beneath the surface.

A diving woman swims out into the open ocean. Oily handprints still stain the skin around her jaw, but those are nothing but past scars. Today she’s free, to go anywhere. Be anything. Separated from the gestalt, the possibilities seem endless.

But there is always something watching. No place you can be truly free when there are those who cut through the static like you walk on land.

The woman breaks the surface of the inky water, and finds it impenetrable to her view from above. She pulls herself up into the massive fishing boat, where the fisherman servant to the Fisher King had sat.

But he’s not there.

There’s a bald man in a suit with an ink-covered arm extended. His heart has been ripped out, leaving an inky pit in its place. There’s a hole that a fishhook once pierced.

Beside him is a dark-haired girl, or perhaps its just her hair is drenched in the oil. She’s curled into a ball and caressing her leg, which is wrapped in static fishing line. It cuts deep welts into her flesh.

Then the screen turns dark. And he hears it. Screaming. Awful. The grinding of flesh on rock, of hooks stabbing and shearing.

And then there’s that face pushing through the screams, here and not here. Nearly pressing out of the television.

And the room is plunged into ice at its stare. The servant fisherman stares right into Emmett’s eyes. Then he starts to open his mouth, and the fishhooks look like sharp teeth jutting out, ready to bite.

Then a splash and the ice recedes, as the static sea swallows the diver whole, and the weight of the world above drags her lower and lower into the abyss.

The shark-eyed servant dives too, into the murky depths, unencumbered by the static and the oil.

The nature doc narrator speaks again, his voice cutting through the thickness of the waters. “Due to a peculiar organ called the olfactory bulb, great white sharks can smell a drop of blood from three miles away!”


“Once a shark finds a target, they never give up on the hunt. Blood giveth way to deeper blood. They’re watching.”





“All his”


“Donovan,” Celia’s voice pierces through Emmett’s head, clear as the cold night sky.

They take what they want.

You know you are theirs.

They’re on a boat now, fishing together. And there is the shape of a woman made of pure jade, to whose face a mask is tied, Celia’s face painted on it, smiling.

They open their mouths and fishhooks jut out blood-red and dripping with hunger.

The view draws back, and Emmett sees the true extent of the unmentionable They. Seventy and seven fishing boats sit at the perilous circumference of the pit of gestalt screaming. Fishermen stand at the ready in each one, a pair of fishhooks jutting out of the rooves of each of their mouths. Each of them fish humans out of the pit, dragging them screaming into their boats on their barbed lines. They bite through their flesh and then toss them back, limp, into the pit.

The static flows on the screen as the view pushes in on a few fishermen paddling from the glimmering island of the Fisher King. But fishhooks do not jut out of their mouths, and there still remains oil on their skin, covered by the thick clothing of ferrymen.

They pull down the way of the dark flow.

And the one holding the long-stemmed paddle turns to the other, and speaks in soft tones. “Just around the river bend, we’ll find the one who’s near her end.”

“Hold your tongue until you die, for They are watching you and I.” The paddle moves, and it seems to stretch down eternally into the oil.

The men remove their black cowls and whip the lashes of their fishing rods into the oily darkness.

And that’s when he sees it. It’s him, sitting down in the fishing boat, though his handsome face is rendered monstrous, drenched in the thick black oil. Barbed fishing line is wound tightly around his legs, and further spurts of oil leak out where the wire breaks his skin.

The oil-drenched Emmett looks with harrowed eyes out of the television, into the similarly harrowed eyes of his twin sitting on the couch. He’s holding his father’s tackle box, old and rusted, but free of oil-stains.

And he sees the face of the other man, and he is Emil, mostly. He has eight eyes in place of his two, which stare out in all different directions. The hairs of his skin stand up at attention and stamp themselves down into his pores, forcing the black oil from leaking out into the world.

“Why save her, if she’s going to lose it all?”

“We aren’t saving her. We’re making her whole again.”

The lines tug, and with a pull of the rod, the two men find their catch. It’s a damp mop of black hair mostly, with the oil-drenched body of a girl attached. She’s missing far too much, far more than they are equipped to repair.

Her face is gone, punched out. There’s nothing left inside, nothing to see beyond the oil. But something further is missing.

It sits in their tackle box.

Her leg has gone gangrenous and black from the sharp wire digging far deeper than could be construed as pleasant. Emmett can smell it even through the mask of the television. Dead. Horrid. Unmentionable.

“She doesn’t need health where she’s going. She needs to be whole, a façade is all that’s necessary, a mold for what is to come.”

And the oil-covered Emmett stabs the crude appendage back onto her foot. There’s a slick crunch as the metal rod that affixes it forces its way into place.

She doesn’t scream. She can’t. But the hole in her face shakes violently in protest and the oil that pools in the gap spills out into the form of the ship.

Emil bends to whisper something into the woman’s ear to give her something else. Another thing she’s lost. And Emmett can hear it, if just barely.

“Though your heart may rest in pious hands, your name shall reside with rocks and sand.”

There’re two things to do when you catch a carp, Emmett. Either you kill it quick or you let it go. Anything else is cruel.

The pair heave the body, and finally, let it drop. There’s a splash, and then the seafoam static swallows the scene once more.

GM: But from the static, a face emerges.

And behind the face, an apartment.

Em’s apartment.

He is coming.

Emmett: Em stares at the screen. He dares not blink, lest the closing of his eyes destroy the madman’s montage playing out on the mob-fenced television. His teeth chatter, though it is not cold. Tea, merely warm instead of scalding, sloshes from his lopsided mug onto his groin, ruining the mint-condition cotton thumb of Action Bill and staining his couch besides. He does not notice.

It is only when that face emerges, clearer and somehow more chilling than any of the macabre omens that preceded it, only when the television makes a promise he cannot ignore, that he blinks.

And speaks.


Then he reaches between the cushions and pulls out a gun.

Emil: Then there’s a buzz, and it’s when he looks to his side that he sees not-Emil disconnecting a cable from the laptop and stuffing it and the laptop into his backpack. He’s holding a black, metal hard drive.

Emmett: “Ah, damn, the ammo’s in there somewhere.” He rummages under the cushions for a second and pulls out a clip.

Emil: Another buzz, and then he turns to see the gun.

“What the hell are you doing with that thing?” He sounds cold, pumped through with adrenaline.

Emmett: “Exercising my Second Amendment rights,” he says as he loads it. “Your boy have a car outside?”

He considers slapping Emil when he doesn’t immediately answer, but then realizes it probably won’t translate.

Emil: He turns off the television, and the monster’s face disappears into blackness.

He sticks his head into the bag and when it comes out, he isn’t wearing Emil’s face. But his true face is covered by a skintight black mask.

“Outside. Now.” He sounds frazzled, but focused, as the blind man throws the backpack over his shoulders and heads to the door, before looking behind and chiding,

“And get your finger off the goddamned trigger! It’s not a toy.”

There’s a rushing noise, and then the sound of sliding before a series of taps, and then more rushing, more sliding, before the sound fades out.

This man is used to running.

Emmett: So is Em.


When Emmett emerges from the apartment precious moments later, he’s still wearing the crotch-stained Action Bill and the Danger Squad underwear, but he’s weighed down by a bulky-looking duffel bag.

It takes him a few moments to catch up to his “guest.”

Emil: It takes even fewer for the perfectly average-looking car to drive by. A door opens and strong arms rip him off the street and throw Emmett into the car.

The door slams. It never stopped moving. Now it’s going faster.

Emmett: “Fuck!” he yelps.

He barely manages to hold onto the gun. He’s still brandishing it as he sits up. “Who!”

Emil: “Put the gun down you maniac. Use your head.” There’s someone else driving. The black-masked man still speaks with Emil’s voice, as he scrubs through the video on his laptop, picking out unsatisfactory pieces of film and cutting them out with a few clicks.

“Who do you think?”

Emmett: “Jesus—fuck!” He lowers the gun, but keeps it close. “Is that the footage? Where are you sending it?”

Emil: “It is. And I’m not. You are. All clear?” The gloved fingers of the blind man move strikingly fast over the keyboard.

Emmett: “No?”

Emil: It’s quiet for a moment excepting the sound of tapping plastic keys.

“That was the sound of me waiting for you to ask a question so you can be made clear. Go.”

Emmett: Oh. Now he’s the wiseass.

“What are you planning?” Em asks. “And what about Celia? What about…him?”

Emil: “I’m planning on doing what I promised Celia I’d do, and that is getting this hard drive to the person she trusts. Right now, that’s you.”

“On this drive,” he says, and with a buzz has the man hold it in the air, “there is a single program which accesses a secure server that holds the video I just edited. I stripped it down to essentials. Celia isn’t in there. Nothing they wouldn’t want seen is in there. Whoever has this drive controls the fate of her father. She likely gave you instructions on how to handle it from there.”

“Don’t tell me them. We need to keep our minds clean of excess knowledge. I already let you see far too much.”

With a buzz, not-Emil hands Emmett the drive.

Emmett: “Fuck,” he says, trying to process that. “Okay. Okay. Is she…” Alive? he doesn’t trust himself to say it. Instead he clears his throat, opens the bugout bag and rifles through it for a shirt, which he swiftly pulls on. He tucks the letter that he pulled off the table, the one Celia wants him to give to the guy at House of Blues, into the bag as well.

“Where are you going to drop me?” Em says, as he continues to pull on clothes.

He takes the drive and it joins the letter in the bag.

Emil: “No dropping. We’ll be driving until dawn. But we’ll be swapping cars soon enough. Can’t risk someone catching our trail. There’s a pickup coming up through across an unmonitored alley in about ten.”

“In the meantime I’ve took the liberty of breaking into your apartment’s surveillance setup and replacing all recent footage of you, Celia, or me entering or exiting the building with generic footage.”

Emmett: “My apartment doesn’t have—wait, what?” His head is spinning. “What happens at dawn?”

Emil: “It does. They just don’t tell you. Helps keeps their insurance bills down. And what happens at dawn, is that They go to ground. Get ready.”

“7. 6. 5—”

The door slides open as a great amount of buzzing occurs in the man’s ear. The pair jump out whether Emmett is ready or not, with their backpack and duffel bag.

“3. 2—”

They’re running out and the movement shuts the car door back. Another car pulls up on the other end of the alley. Not-Emil points out the few cameras that were deactivated so they could make their way unseen. Easy to ignore as the pickup opens the door and once again Emmett is thrown into the car before not-Emil jumps in.


The door shuts again. Not-Emil breathes a sigh of relief.


Emmett: “They—wait, what.”

He runs. He ignores Emil’s tour-guiding.

He slams the door shut beside him. “How many times are we doing this?”

Emil: “As many as it takes. I have cars all over the city. Bulk purchase. Donations. What have you. Drivers don’t ask many questions.”

Emmett: Em stops asking questions. He has a feeling the answers will only make his head spiral more.

He cooperates, though, and falls into the pattern. It’s like track. Sprint spurts between rests.

Where to stay, during the day? His apartment’s probably unsafe. Miranda? Maybe a Pavaghi? His sister? Fucking Taylor?

Emil: Regardless of where it is, Emil’s not gonna be there. Or maybe he will. He keeps his associate’s lips so tightly shut Emmett can’t even see them. Though the mask might be the cause of that more than Emil’s secrecy.

He warns Emmett again on the importance of keeping all of this to himself. All of it. A lick of this releases and everyone they love dies.

He provides a change of clothes for Emmett and himself at each car swap, and they get to see much of the city, though its beauty is hard to appreciate running from certain death.

Right before they diverge, as they spend the last few swaps in separate cars to distance themselves, Emil shares one more pearl of wisdom.

Not-Emil opens the door to let Emmett out and tells him, “I figured you two were sleeping together and you might not be able to do that anymore. So I thought it might help if I let you know.”

He coughs.

“Celia’s your cousin.”

The door slams shut and the tires squeal, leaving Emmett alone in an alley.

Thursday morning, 2 April 2009

Emmett: Emmett swears.

He staggers through the morning light, duffel bag knocking against his side like it’s trying to pull him back. The early, bleach-colored sunlight hurts his eyes. He wants a smoke so bad his lungs crave a cough. His head pounds with a come-down he should have known was coming.

He walks. Buys a hot-dog from a stand. The guy behind the counter’s wearing an eyepatch, and he looks sorry for Em.

Say what you like about me, Em thinks ruefully, I’m too good to wear a costume to sell hot dogs. Even if I did fuck my—

He manages to keep the hot dog down, with effort. His mouth tastes like mustard, but it goes down his throat like mustard gas.

He walks.

Emmett: He passes a woman selling flowers. He buys the reddest ones. They stig his nose and he sneezes in the face of a homeless man, who he only momentarily recognizes as a private detective he hired a few weeks back.

“Sorry,” he says, and keeps walking.

He ends up in Marigny. The sun’s rising, and its rays are beating him into the ground.

He gets to the door he doesn’t realize he’s been walking to, and knocks.

GM: There’s no immediate answer.

She isn’t much on an early riser either.

Em has to bang and pound his fists until they hurt before a shadow darkens the peephole.

The door opens. Sami’s wearing a black nightgown and looks like she just got out of bed. Her hair is mussed, her face isn’t made up, and her expression looks none too pleased at being woken up early. Her eyes are crusted with sleep. It’s a rather less sexy picture than their normal dates.


Emmett: He isn’t on his knees. That would lay it on too thick. But then, he doesn’t need to lay it on much at all. The tears glittering on his cheeks, tracing the shape of his face, are real enough.

She has only seen him cry like this once before. On the worst night of both their lives.

“I need you,” Em whispers. “I need, I need help, Sami. There’s nobody else. Please. Please let me in. I need you.”

He looks like death.

Will she turn him away, he wonders? Her best client, and the only person who says he really loves her and thinks he means it?

He is desperate, but he is cynical, too.

Sami Watts likes it when he needs her.

GM: She looks at him for a moment.

Then she undoes the switch, opens the door, and lets him collapse into her arms. Her fingers are so soft as they run through his hair.

“What the fuck have you gotten into…”

She kicks the door closed.

Emmett: My cousin.

“I just…just…”

He shakes his head. It’s too much to tell her.

“It’s like it was. Monsters. Things. They won’t find me, but I can’t go home. I tried to help her. I tried to do the right thing, but I think the monsters know who I am now and I can’t go back.”

He hugs her to him.

Hating himself. Loving her. Both. The same. A snake, eating its tail.

GM: They sink onto Sami’s bed. Em’s not sure when they do. It’s not day yet, not really, but it’s bright enough he doesn’t need the lights on to make out her face. Dawn’s navy shadows suit her. That in-between time and space where the monsters might be gone, but maybe they aren’t, and Em doesn’t know where he stands, where he doesn’t know anything, except that needs someone, someone as broken and damaged as he is, because it’s is fault, and maybe it is this time too, and—

She’s warm. She’s soft. She’s there.

“Fuck,” she mutters.

Emmett: There. And that’s so much more than anybody else.

“Fuck,” she says, and he hears it as a command, the way he’s been trained to for a year.

Fuck. All he’s good for. All he’s good at. Fuck. The only thing he can offer.

He pulls at her nightgown, dries his tears on her thighs. He does what he’s good at. He rewards her for her love, her pride, her hospitality.

He worships her.

When they’re done, Em just wants to sleep. Not talk. He barely has the willpower to set an alarm for himself.

GM: Em’s gotten head from Sami lots of times, though it’s his first time giving it to her. She seems to enjoy it, twisting the sheets in her hands and gasping as her back arches with her climax. He’s not met many women who didn’t enjoy, from him. Any, really.

The last words he makes out before they collapse into sleep together are a sighed, “This is a bad idea.”

Emmett: If only you knew, baby, he thinks.

Thursday morning, 2 April 2009

GM: Em is jolted awake what feels like barely any time later by pounding fists against Sami’s door.

NOPD! Open up! Now!”

Emmett: He’s already having a nightmare. The reality doesn’t take more than a second to adjust to. He’s still waking up as he presses his lips to Sami’s ear as she starts awake. “Sixty seconds. Get the door in sixty seconds. Lie. I’m not here, I never was. They don’t know anything. Ask to see a warrant.” Then he moves. Close to the floor, way the fuck out of the line of sight of any of the windows.

His heart is thumping. But he doesn’t have time to be knocked over by it. He takes five seconds to decide. Out the window or hide? Hiding’s bad if they know he’s here. But they don’t. They just think he might be? Right?

It’s a gamble. But if he leaves, and they’re waiting for him, he’s fucked anyways.

He hides. He’s tired of running, and if they’re going to get him, better Sami sees him go out. He’s not letting them take him.

The bag he stuffs in her closet under a pile of clothes. Sami’s plenty messy and always has been. That takes fifteen seconds, including the time it takes to grab the drive, the letter, and the gun. The flowers come with him, too. He looks like he’s visiting the grave, one way or another.

Forty seconds.

It’s a nice apartment, but it’s still an apartment. Not many places to hide. Except, he’s been over here before. She has one of those sort-of closets that aren’t really closets, a hole in the wall covered with a plaster lid. It goes straight to the pipes, and he grits his teeth as he squeezes in, delicately pulls the lid back into place. It’s easy to miss if you aren’t looking for it. Easier if Sami’s half-dressed and running interference.

Moving slowly, not rushing it, not scalding his ass on the hot pipes behind him. Thirty seconds bleed by while the big bad wolf huffs and puffs and threatens to bring the house down.

Ten seconds to crouch, still his breathing, close his eyes, and listen.

But not pray. Never pray. His prayer is the gun in his hand.

GM: The big bad wolf does more than threaten. Sami has barely started talking when Em hears the door burst open. Heavy footsteps tromp through the apartment.

It doesn’t sound like they particularly care about a warrant.

Em catches flashes of blue uniforms and scowling expressions from his hiding place. The cops question Sami. She plays innocent. They bring up her whoring. She still plays innocent. Hasn’t seen an Emmett Delacroix.

Em hears something heavy smashing. A low voice swearing.

The footsteps tromp away.

The apartment door closes. Lightly.

Sami looks around a moment, then pulls open the lid. She’s half-dressed in the same nightie.

Emmett: “Sorry.”

GM: “You’re buying me a new TV,” she says.

Emmett: “A bigger and better one,” he agrees.

GM: The screen has been smashed in. There’s a few sparks going up. Sami unplugs it.

“What the fuck did you do? Those cops didn’t even grope me.”

Emmett: He retrieves the duffel bag and pulls out a few wads of cash held together with rubber bands. He leaves them on her pillow, like complimentary chocolates from a hotel that understands real service.

“The right thing,” he says in response to her question, after a too-long pause. “It’s always the right thing that gets me in trouble.” He shakes his head and grapples around her nightstand for the pack of cigarettes she keeps there. He clutches a few and slides them into his pocket. His lungs are begging to be set on fire. “The less you know about it, the happier you’ll be.”

He checks the time, too.

GM: Less than an hour since they went to bed. Em knows (from experience) that cops like to raid people’s houses early in the morning. Even the hardest partiers are usually asleep, disoriented when they get woken abruptly up, and it’s the time people are most likely to be home.

Emmett: He clutches his head. How long until they double back? He has to figure some hours at least. But wait too long, they might send somebody to sit on the apartment, watch for him. He’s pretty sure they do that on TV.

Fuck. Fuck, fuck, fuckety fuck. Fuck the pope, and the kids in his bed.

He is never doing the right thing again. He stumbles into the kitchen and dials Miranda’s cell. He doesn’t know why he’s memorized it. Maybe because it’s one of the few he actually looks forward to dialing.

GM: Em just gets a look from Sami over “doing the right thing,” but she doesn’t say anything he doesn’t want to hear when he leaves the cash on her pillow.

It’s what she’s best at.

The phone rings for as many times as Em usually likes to make people wait to show he isn’t desperate.

What?” comes the groggy-sounding voice of another girl who sounds equally pleased to be woken up early.

Emmett: “You up for some civic disobedience?”

GM: “It better be good to be this early,” Miranda grogs.

Emmett: “Only if you’re able to take it, Super Saiyan. Look, you remember telling me about robocalls? And messages? All that? Is there any reason you couldn’t set something up to flag a police precinct with a bunch of calls and emails and the like?”

“Particularly of false sightings that happen to carry my description?”

GM: “Yeah, it’s basically a limp-dicked version of swatting.”

“That can get people killed.”

There’s a thick giggle.

Emmett: “Yeah, well, with how bad they’re looking for me, this might too. So be careful. Cover your ass, but if you can get them running all over the city…” he glances back at the other room, then lowers his voice and cups the phone’s mouthpiece. “I will do things to you that will make you happy for the wheelchair the whole next day.”

GM: “Ohhh, like what things?”

She’s never been one for innuendo.

There a crunch from the phone’s receiver like she’s already eating.


There’s a glug, then a loud belch.

Emmett: “I’ll keep you guessing. Just stay safe, okay?”

GM: “Eh who cares about that.”

“But okay. I can keep the pigs oinking.”

Emmett: “I do. Don’t get hurt. And thanks. I owe you one.”

GM: “Yeah you will.” There’s another thick giggle. “Oink oink oink.”

Emmett: “Oink,” he agrees, thinking again about the big bad wolf, and hangs up.

He briefly worries about his parents. What will they think, when the police knock down their door?

Probably nothing new.

He briefly regrets not telling her to send them to Ron’s place.

GM: Regrets are nothing new for a Delacroix either.

Thursday night, 2 April 2009, PM

GM: Em gets out and hails a cab. Falafel Joe is happy to drive him through the city. Em doesn’t care where. So long as they keep driving. Em sits in that cab for over 12 hours, interspersed by a few food and bathroom breaks. There’s also an ATM stop. The cabbie’s fee climbs into the quadruple digits and he doesn’t want to accept credit cards. By the time it’s over, it’s the most expensive cab ride of Em’s life, but his driver seems well-pleased. He even insists on buying Em some of the shawarmas that are his daily lunch. They’re mutton, pita, lettuce, yogurt, and lots of sauce.

Joe drops him off outside the House of Blues in the French Quarter.

He’s not sure he’ll ever get the smell of hummus gas out of these clothes.

He’s not sure he’ll ever get Middle Eastern discothèque out of his head.

Joe looks absolutely delighted, though, by what might well be the most lucrative day of his career.

“You need a ride any time, any blace, no questions, you call Joe!” he waves, even leaving Em with his cell number.

Emmett: He thinks he’s a genius, at first. It’ll be pricey, but cops never stop cabs—terrible impression to make on tourists. Four hours into the hummus-stinking journey, he’s mellowed considerably. He sleeps, badly, but it’s a good bad sleep, that straddles the edges of wakefulness while sparing him the worst rigors of a conscious mind. When Joe brings him the pita-wrapped, dripping schwarmas, he devours them ravenously.

12 hours pass. They aren’t comfortable, or particularly pleasant. But they’re safe, and he knows what to expect during them.

That may make it the best way he could have spent his money.

And spend it he does. He’s broke outside the House of Blues. He steals a drunken tourist’s wallet and walks inside the place stinking of hummus and cigarettes and bad ideas.

It’s 8:50. He sits at the bar, buys a drink, and looks for a cop. You can always tell a cop by how they carry themselves, somebody told him in OPP once. Like they’ve got a bad back that doesn’t have the right to break yet.

GM: Said to be “hard to find and harder to leave,” the New Orleans House of Blues is a combination live music venue, bar and restaurant named one of the city’s “hidden venues,” though it remains part of a larger franchise.

Em doesn’t see any cops outside.

But he does see someone else.

She is a cold, haughty beauty, with high cheekbones, porcelain-pale features, and lustrous brown hair, but it’s a beauty that makes Em’s skin crawl. It’s not the pretty kind of beauty. It’s the terrible kind. The kind that can do unspeakable things, like never once smiling, and still look beautiful. It reminds him of the woman with the poison eyes. She wears a white trench coat, black leather gloves, and felt hat.

Knowing his luck, she is undoubtedly looking for someone.

Emmett: Knowing his luck, he can bet who.

He walks into the place next door, careful not to let her see him.

Then he uses his shitty burner phone’s internet access to find the House of Blues number, squinting at the tiny screen. He dials it.

GM: “House of Blues,” greets a man’s voice after several rings. Blues music is faintly audible.

Emmett: “Call for a Pete. Tell him it’s from Celia.”

GM: There’s a wait.

“Pete,” comes a voice in the firm sort of tone Em has already learned to associate with law enforcement officers.

“From what I hear your voice is a little deep to be a Celia.”

Emmett: “She sent me,” he says without preamble. “But you’ve got a problem out front. Scary-looking bitch with a trench coat. I saw her before she saw me. Can you get to the place next door?” He gives him the name.

“Without her seeing you?”

GM: “Could try. But it’s a gamble.” He doesn’t say why. “I’m guessing you’ve got something for me.”

“Pay someone there to drop it off at the Evergreen Plantation. I’ll reimburse you.”

Oh. He’s broke.

Emmett: “I’m broke,” he mutters. “I’ll have to do it myself. Or—“

He pauses. “I’m Emmett Delacroix. You heard my name in the last few hours? Thanks to all this shit, I’m wanted. And you’re a detective. You following my train of thought?”

GM: “Oh, is that so? Are you giving yourself in, Emmett?”

Emmett: “Long as you’re the one who takes me in. And as long as you can promise I’m not dead as soon as I set foot into a precinct.” He isn’t sure if the other man can hear the exhaustion in his voice. “I’ve had a really long day, and I’ve probably fucked up my life more than can be unfucked. So as long as you do what you promised her you’d do…it doesn’t really matter what happens to me. Are you gonna come take me in, or not?”

He clears his throat. “Um. Sir.”

GM: “Okay. I can do both promises. Hang tight,” says Pete.

“What are you wearing?”

Emmett: He laughs. “I’ll be the best-looking guy in the bar.” He describes his clothes. “You won’t miss me. You’ll smell hummus.”

GM: He’s approached a little while later by a girl who flirts with him, saddles up close, and whispers in his ear, “Pete said you had something to pass on.”

Emmett: He passes it to her. “It’s never the other package they’re looking for,” he grouses.

GM: The girl smirks and heads off.

A little while later, he’s approached by a short and stocky gray-eyed man with dark hair and the unmistakable demeanor of a cop. “Emmett Delacroix?” he asks.

Emmett: “That’s what it says on my underwear,” he says, and holds out his wrists.

GM: The cuffs snap on. He hears the Miranda warning he’s heard enough times to have memorized himself.

“You have the right to remain silent. Anything you say can and will be used against you in a court of law. You have the right to an attorney. If you cannot afford an attorney, one will be provided for you. Do you understand the rights I have just read to you?”

Emmett: “…read to you?” he finishes reciting along.

“Yeah. Let’s roll.”

Previous, by Narrative: Story Ten, Celia XIV
Next, by Narrative: Story Ten, Emil IV

Previous, by Emil: Story Ten, Celia XIII, Emil II, Emmett VIII
Next, by Emil: Story Ten, Emil IV

Previous, by Emmett: Story Ten, Celia XIII, Emil II, Emmett VIII
Next, by Emmett: Story Ten, Celia XVII, Emmett X


Izzy Feedback Repost

Boy well boy did too much shit happen in this log. I enjoy being able to show off multiple sides of Em, and this was a good log for it.

Highlights: the super well-done precognition scene, which was all Navy. Emil and Em bonding somewhat through their horror, only for Emil to drop the incest bomb on him.

I loved evading the cops at Sami’s, though admittedly that was mostly a function of dice luck. I just had a lot of fun writing that post. Ditto for the Miranda call and evading the cops through 12 hours of Falafel Joe.

I was pretty proud of myself for getting him arrested by Pete, too. I thought they had a fun rapport, scant as it was.

Story Ten, Emil III, Emmett IX

Calder Feedback Repost

Calder: Vis a vis feedback
I did like Em taking “Emil’s” hand
Even after their bickering
Because the shit they saw was so awful
I also loved how the cousin reveal panned out
Way better with Emil dropping the bomb like that than for them to discover by “coincidence”
I was pretty amused by the Falafel Joe plan
12 hours in that cab
But I mean, it worked
“Emmett: He thinks he’s a genius, at first. It’ll be pricey, but cops never stop cabs—terrible impression to make on tourists. Four hours into the hummus-stinking journey, he’s mellowed considerably.”

Story Ten, Emil III, Emmett IX

Navy Feedback Repost

What a fun log this was to read over again. And it’s totally not a pat on my back to say that, right? I’ll run with that assumption and add that I thought that the vision scene worked super duper well. Of course, a good part of the vision predicted potential events whose possibility was immediately dashed away by the appearance of Donnie’s face on the telly. That’s just how the sushi rolls though.

I layered a lot of meaning into the different images in the vision, and that’s really helped by the way I incorporated images and outside sources in it. The Peredur story I had noted to some that it is applicable/interpretable with respect to many of the PCs’ stories in different ways. Also, now that everybody knows the deal with Celia’s sister, how about that pun I made ayy?

I was a little worried about the initial interaction between Emil and Emmett as a first contact post-jail scene due to the way it worked in the last log and the antagonistic way it seemed to be heading in the beginning of this log, but it turned out really nicely and sets up a partnership between them.

I really enjoyed having Emil act in the role of “Revelator.” I’d like to do that again. The use of sharing the vision with Emmett with the TV was a really cool tool to show the power in action when Emil wasn’t present.

Maybe he could help bring fledgelings up to speed as part of his role in Kindred society. Riding in the cars in the aftermath and the running between them reminded me of that unnerving kind of tense speed that you get in the Willy Wonka + Chocolate Factory tunnel scene.

I am super happy with that cousin reveal. That was hilarious. That bewilderment ooc when I posted it was just chef’s kiss. And the idea that they won’t know how it was done potentially ever is even more humorous. Emmett’s reaction to it and his behavior in the rest of the log is also very fun to read. The Falafel Joe thing was great.

Another thing I liked about this log is that we saw how damn professional and forethinking Emil is under pressure. The man saw that a crazy powerful vampire that just murdered Celia was about to come after them, Emmett just pulled a gun he clearly was not trained to use out, and he still followed his safety precautions to the T, getting Emmett and his proxy safely out of dodge of the aforementioned monster. All that and still leaving time to tell Emmett he’s been sleeping with his cousin.

Story Ten, Emil III, Emmett IX

Calder Feedback Repost

Calder Today at 12:41 AM
Agreed on how awesome the vision sequence was
It took a while to get up but you went all out
All those images
All that foreshadowing

Navy Today at 12:41 AM
Pinterest diving.
My hidden talent.

Calder Today at 12:42 AM
You did a good job incorporating all the Precog info into the vision without making it super obvious what it was
Em thought he was tripping again
If you want to be a revelator some more there’s lots of ways you can do that

Navy Today at 12:42 AM
I can almost imagine that Emil tried to actually dominate him there when he told him this was all a drug trip, and this was his way around it when the “roll” failed.
You have any in mind you think I should consider?
Beyond that kindred idea and the cult business?

Calder Today at 12:44 AM
I just mean you have a lot of current/desired powers/concepts already that should make that pretty feasible

Navy Today at 12:44 AM
Oh yeah he has the capability to do that, the thing to determine is the audience.

Calder Today at 12:47 AM
Yep. Like the aforementioned fledglings that may fall into the Baron’s/Ordo’s orbit
I loved the cousin reveal too
Didn’t feel at all forced, it was the perfect bomb to drop in the midst of everything

Navy Today at 12:49 AM
Could also be an effective form of torture if he joined one of the three letter agencies, just add mind-altering drugs and the occasional waterboarding to the mix and you have something nuts.

Calder Today at 12:49 AM
And has the other players going WTF over how he knew

Navy Today at 12:49 AM
It was extremely satisfying to post.

Calder Today at 12:51 AM
Gracias also making your feedback post with the small font

Story Ten, Emil III, Emmett IX
False_Epiphany False_Epiphany