Ready or Not (2019) dir. Matt Bettinelli-Olpin & Tyler Gillett
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@carmillahuxley
Ready or Not (2019) dir. Matt Bettinelli-Olpin & Tyler Gillett
SEVEN PSYCHOPATHS (2012) — dir. Martin McDonagh
I am a Fierce War of hungry ghost wolves.
Channing H.M (via de-morte)
@carmillahuxley |
“Late for your own coronation. That isn’t a good look, Lord Imortis.”
Vane was ripped from her inner thoughts by a voice that could only be defined as harrowing. Soft enough to lead a man to his death, but with enough steel to deliver temptation’s kiss. Both sides of a coin stood upon the manor’s second floor balcony, overlooking the dancing crowd outside that ignored the chill of winter’s advance. The young Lord dressed in a black suit, flourished with a sole purple rose, at the lapel. Alexa, of course, stole even her sister’s show in a form-fitted, low-cut, backless, azure dress.
They lingered, their dichotomy in existence amid a quiet moment as the wind stirred matching brunette strands of both siblings. Vane nursed a glass of brandy in lieu of more frowned upon substances, far more sober than their guests, due to arriving at the party fashionably late. She had not the time to clean the soot from underneath her fingertips, but otherwise, looked well groomed for the affair.
Alexa, however, was the essence of perfection, straight backed and attentive, watching like a hawk as a certain pale terror picked her way through the amassed crowd. One could only wonder how Alekya could keep her head so high underneath the weight of her mother’s gaze. Vane knew its gravity, and the burden of carrying the family name, especially now that she ascended to the upper echelons of the nobility’s playing grounds once again.
“If you would be so gracious as to forgive me, Vice-Admiral, it would be appreciated and not forgotten in any haste.” A low timbre of a voice offered, finally, as the shifting of leather armor behind their respective forms reminded the two present of the tense silence. Blind eyes and wise ears kept tabs on their conversation from inside the manor’s doorway, Fah’s form taking up the door frame with its pure mass and splendor.
Even with her protection, Vane could not help but feel alone and afraid when within a foot or so of her sister. Despite Carmilla being a simple word away, a literal arsenal of knives and weaponry always lingering at the ready, even. Two lines of defense, each respectively ready to come to the rescue as soon as a glass fell, or words rose above an acceptable level.
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Joanna Karpowicz - Anubis On The Red Couch (acrylic on canvas, 2017)
“Life went on without you. Of course, it did. Of course, it does. It was just an ending, not the end.”
— Lang Leav
A Corsican Vendetta knife with a floral design. The blade reads: “Che la mia ferita sia mortale” which roughly translates to: “May all your wounds be mortal.”
A man approaches Carmilla in the city, neatly dressed, but otherwise forgettable. He wordlessly offers her a leather case, one that is accompanied with a handwritten note. Upon her acceptance, the stranger vanishes into the nearest crowd of people.
“To The Blade That Casts No Judgement,
May this greeting find you well, and may your heart still be sure and strong. An offering for your loyalty, your compassion, and your grace. You know what must be done without hesitation. Protect your charge. Do so without a second thought, dearest Magpie.
One shot, that is all you can take. Use it wisely.
- An Admirer”
Within the case is a balanced dagger, crafted from the finest of titanium, the hilt carved from bone and shaped perfectly for Carmilla’s hand alone. Most notable and unusual, was the small flintlock firing device installed onto the blade at its quillon. A single round is provided as well, as that is all that can be loaded into the pistol.
Neither word nor movement manages to come to fruition before the man departs, leaving only the case and the note to serve as an indication he was ever there. Suspicion grips her — in times such as these, where tension is ever the prominent factor, Carmilla is unsure who and what she can trust. But she elects to review the note anyways as she walks through the street, analyzing every facet of its nature to try and put the pieces together.
“To the blade that casts no judgment,” the enforcer reiterates, putting the very words written across the parchment to voice. Her brows collide together, weighed down by contemplation before she finds a place where she can set the note aside in favor of the case. She opens it carefully, quietly, half expecting the item within to blow up in her face. When it doesn’t, the woman looses a low whistle of appreciation, and she gathers the weapon up to hold it aloft in a careful inspection of its make.
“Fucking hell,” murmurs Carmilla, both impressed and surprised. A finger traces along its edge, balanced just so to avoid splitting flesh in the process. “Always expect the unexpected, or so they say. And what’s more unexpected than a blade that can unload a bullet in one’s chest, too?”
Her head shakes as she returns the dagger to its case and shuts its lid. Gathering it beneath one arm, she collects the note with her free hand and glides back into motion, taking to the streets with an easy gait.
“I’ll put you to good use,” the enforcer promises, grey gaze falling upon the leather case held against her side.
CHICAGO (2002), dir. Rob Marshall.
@carmillahuxley |
“The right liar in the right place can deal more damage than a hundred swordsmen.”
— [x] (via we-are-rogue)
Credit ▪ Paris Fashion Week A/W 2015
the game begins ;
“Do you remember what I taught you?” Killiyn’s voice demands to be heard as the dulcet words slither past lips held flush against the cartilage of Carmilla’s ear. She stands behind the younger woman, hands upon her shoulders, while she watches the enforcer adjust the collar of her blouse in the mirror.
The downward tip of an angular chin is the only indication that the human has heard her. Ever-thoughtful, the reflection of grey hues meets that of violet, contrasting colors clashing in a war with no perceivable end.
“Tell me, then,” purrs the captain, her nails digging into the fabric of the other woman’s jacket.
Carmilla clears her throat before reciting, “The game’s outcome is not determined by the number of weapons or men you have at your disposal, but by the quality of the player on the board. And though the field may be uneven, though the opposition might think themselves capable of winning, it never holds up in the long-run.”
“Why is that?”
“Because I will always be the smarter player,” she decides.
An inkling of morning’s light leaks through a hole in the curtain, painting the room in an ethereal, dewy glow. It’s enough to devour the shadows left behind by the evening’s affairs, revealing the spoils of war artfully hidden in the previous darkness: clothes discarded on the chair, empty bottles on the floor, remnants of cigarettes spent in the ashtray, and, perhaps the most telling, not one, but two indentations on the bed. The light rats her out, wreathing her den of debauchery in frosted gold.
Carmilla pays neither it nor the subtle creak of the door as it closes behind a fleeting figure any measure of attention. Far too busy to care, she sets her palms on the sink’s edge and leans forward, stark naked and studying her face in the mirror.
Several bruises span the expanse of tired features. Where once there were only freckles against porcelain flesh, now there are streaks of purple and cuts, and the lingering flecks of blood she missed from the initial scrubbing of her hide. Bags flanked by discoloration hang from beneath her eyes, meshing with a nose that curves in all the ways it shouldn’t. Her left brow, too, still dribbles enough crimson to obscure her vision, and she brings the back of her hand up to wipe it away with a regretful sigh.
Though her head screams and all the aches and pains that had subsided as a result of her feeding one too many bad habits come back with more vengeance than a woman scorned, the sight of her reflection fosters a small, clandestine smile. It reminds Carmilla of a different time, a time before everything went to shit and action beget consequence. But the pounding of her heart in her ears prevents the woman from lapsing into emotional reverie.
Tell me, then.
The life of her smile is a short one, the expression fading away as quickly as it came to be. She souses the dirtied rag hanging over the sink in the water still kept within the basin, pressing the wet cloth against the gash through her lip. While it doesn’t assuage the soreness, doesn’t cause the pain to abate, it does assist in cleansing her visage of the red that looks much better on her hands, and she uses the rag to disinfect the cut above her brow, too.
“I will always be the smarter player,” Carmilla promises her reflection. She continues to deterge herself entirely of the evening’s sins unbidden, and in this moment, she can almost feel the hands of a long-gone captain squeezing her shoulders in unspoken praise.
@captainblightsun (mentioned)
Anger is better. There is a sense of being in anger. A reality and presence. An awareness of worth. It is a lovely surging.
Toni Morrison, from The Bluest Eye (via bookofkhidr)