illusionary funeral {corpseductorr}
The only time theyâll meet? Elisabethâs eyes flutter shut. Yes, that was a foolish notion on her part, since theyâre existing on borrowed time. While most would fade into the void at a certain point, her spirit is still against the current, though every cell says itâs alright to give in. And if the blonde looks closer, she knows why. If I submit, there wonât be any chance of seeing him. I know that, at least.
"I suppose since weâve just met, it would be unreasonable to call you a friend," she reflects, catching a shimmer of glass irises in the cold. "But I hope I can call you that by the end of this, with your discretion."Â
Strictly on key, the doll appears and words dry up from Elisabethâs throat. Light pools trail over to the miniature with a similar appearance, and uncertainty ripples through the former nobleâs expression. After all thatâs happened, she didnât prepare for such a meeting. The shock hits her side like a blade, she notes grimly as the manâs tawny eyes almost illuminate from ensuing discomfort (fear follows suit - did she fall from a horrible spot into a place darker, deeper?).
Floundering about wonât help here, so she tries to keep the same cheerful demeanor as before. I wonât fail. Iâve made it so far⊠Another voice whispers back, one that she didnât dream would return: youâre not a child anymore, sister. Maybe the pair wonât notice the way Elisabethâs teeth dig into her lower lip (the stress from everything catches up quickly, passing beyond the threshold) .
"Y-Your⊠dress is very pretty." Somehow those words come out. Elisabeth catches a thin string of what he says next, before the silken red fabric decorating their outfits blur in a mix of ink and life water. Everywhere I look thereâs blood, she thinks, fingers suddenly gripping the wooden altar (how did they get there?). One knee hit the ground, and she cannot breatheâ
"Elisabeth. I told you, whatâs the first rule in upper-class society? Do not trouble anyone with your feelings."Â
She messed up (ah, itâs always like that isnât it?). At some point Elisabethâs vision clears, and the night returns. The details of the church are focused, all is as it was, except for the weights tying her limbs down. Knowing she holds the crux of their discussion, thereâs little doubt whether the episode went unnoticed.
"Iâm very sorry. Please continue with what you were saying before."Â
He has to pity the girl (now a young woman in appearance, yes, but it's admittedly difficult for him to regard her as anything else but), in a strange way. Only a little bit more than what is required of him as her confidant, because there's something, somehow, unsettling about that expressed hope of hers. She mentions something else since, something in passing about a...a dress (--Elise's, yes), but it is the word 'friend' stings in his ear for a good while after its utterance: so bothered by it is he, actually, that his reaction to her sudden slipping is belated, and perhaps inadequate even then. He manages no more than a step forwards, as though with intention to lift her to her feet once more, yet he moves no further.
There's then a little giggle in the near-darkness of the old building, Â Â Â Â "This one's a little faint-hearted, hey, MĂ€r?" --not a giggle from the gentleman, of course, but from his companion.
Initially, focused as he is still on the young noblewoman, all he's able to afford in response is a distant hum â seemingly in agreement enough, whereas tone supposes an absence of any real commitment to such an answer. He's had a good while to determine which of these witty observations he should humour, expanding them into delightful little exchanges of remarks, and which he should simply ignore. This, here, is at first decided to be of the latter category: a sort of rare concern for their budding Actress has him distracted. It isn't her well-being which inspires a soft frown to replace that faint smile - there isn't really a 'well-being' to be concerned about, at least not any longer by his own reckoning - though rather that this moment's weakness on the other's part has provided Death with an opportunity to catch up with her.
Thus, marionette's snide quip is left to fade to silence as he waits perhaps a minute and carefully watches her ethereal form. It remains slumped at the alter, somewhat disconcertingly â yet it still has to actually fade, as is customary for those passing on.
He settles after that minute of waiting and watching, however, after he's discerned that her sudden inactivity is no especial cause for worry: a memory from a life snuffed out only recently returns to her uninvited, maybe, and it is this which has her freeze in speech and movement; the reaper has yet to claim the due. In the partial absence of their client, he's inclined to let façade slip a touch. Just enough to allow natural conversation with Elise, although at the same time not too much to deter Her Highness should she in fact be capable of listening, despite her apparent shock. For the first time since establishing contact with the von Wettin woman, attention - even if only temporarily still - is turned towards his partner-in-crime, and he at last humours her slightly irreverent comment.
"Come now, Elise." (Whilst he doesn't laugh as she had, the tone he uses in conversation with her is suggestive of much the same.) "Don't be so rude. You might have even scared the poor woman away, I hope you appreciate."
...He's allowed no further playful chastising, however, for that third voice - not either of theirs - once more disturbs the stillness of the air within. Accordingly, the director's gaze flits back to the recently-return; the second female present seems to fade to obscurity once more, too, as he addresses Elisabeth now. "--Ah. Welcome back to the land of the not-quite-Living, Your Highness," â now he has to scold himself for dabbling in the same rudeness his partner had, but no matter. That charming smile is renewed as he gestures upwards with a flick of his rest, "Stand, please, firstly. I would sooner kneel for you than allow you to do so in my presence, whether for me or otherwise. It is most often recommended that one sing standing, besides."



















