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trash bin PART TWO
| the pygmalion. . . ???  OPENING PROGRAM . . . . . . . . . _PROGRAM CRASHED _PROGRAM REBOOT? >N >SCAN PROGRAM . . . _PROGRAM CRASHED . . . >EMERGENCY LEVEL . . . >EMERGENCY LEVEL . . . _EMERGENCY LEVEL LOADING LOADING. . . LOADING. . . LOADING TEXTURE-NIGHT-SKY, TEXTURE-FULL-MOON, TEXTURE-DIRT-PATH, TEXTURE-CAMPFIRE LOADING SOUND-CRICKETS, SOUND-GRAVEL, SOUND-WIND, SOUND-FIRE-CRACKLING UPLOADING USER UPLOADING USER UPLOADING USER UPLOAD SUCCESSFUL TRASH BIN It feels more like an electrical zap than dying. Dying might feel a little bit more like falling asleep, but this is harder, more painful. If you've ever been electrocuted, the feeling might seem familiar; the discovery you make when you open your eyes, too, is likely very familiar. It's the night sky. Stars twinkle, a fire cracks warmly. You sit up and observe the surrounding area, and it's like you've woken up in some sort of canyon. The fire burns brightly, the moon shines beautifully, the crickets sing, and it is ... peaceful. Mostly. You know you're dead. This must be, then, the after life? Or something like it, at least. The horizon stretches on forever, the dirt and gravel seemingly endless. The moon is so big and bright, it's like you could reach out and touch her. There's a shed not too far from the fire, only but a stone's throw away, as if someone else might have made it, and then went inside it. Approaching it, you can see the light glowing inside it through the dusty windows that are littered with fingerprints. A computer screen, so large and wide that it's baffling, sits, waiting. Turning knob reveals that the shed is unlocked, and stepping inside... it doesn't feel any different from the outside. A chair sits in the center of the room, a strange contraption strapped to the head of it. It looks like it would lower itself upon the head of whoever dares to sit on it, and wires from it's bottom curl up towards the machines attached to the screen. Several smaller desktop screens sit beneath the giant monitor. They, too, are hooked up to the machines scattered around the room, to the ominous one perched on top of the medical chair, and they blink, as if fighting to stay alive without use. Pressing the giant monitor on, it lights up, and displays, strangely enough... a security camera feed. You push the button. It switches to another room. Again, another room. Again, another room. So on and forth. You peeping tom! But no one can blame you, in the end. You might as well digitally haunt the rest of the ship until the game ends, and AL-2955 can clean out the trash bin. ...Right? rule book taken characters information cards |
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Shit-- wait up!
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[ She thinks they're Pinkerton... or maybe someone worse - Booker was never clear. She latches onto names, but they can hear her plea, so the portal was definitely not too far off. It lasts long enough for them to leave the hustle and bustle of the cabaret to the darkened alleys of Paris. When they exit the portal, they'll see Elizabeth running to what looks to be the Seine River. The darkened channel was lit up by street lights and a few gondolas but it's not until Elizabeth looks back nervously that she speaks again. ]
Comstock or Pinkerton - I belong to myself now!
[ She turns, running off the edge of the channel and with a sudden ripple in time opening, they see her not pass through, but bring something through. Instead of hitting the waters below, she's dropping harshly onto a floating barge. It's static and purely gray - a manifestation of another universe brought into this world. It's beginning to float on... hurry up and jump on! ]
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[ugh. ugh!! it takes her a few moments to realize what elizabeth has done, but once she does, she jumps onto the barge.]
Please, hear us out.
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You can be yourself all you want. Cor, that'd be great! All we want is you to listen for a second!
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[DO YOU WANT HIM TO SINK THAT BARGE. Jumping!! I guess!! Boy you better hope he doesn't capsize that boat. Obviously the plan at this point is catch up to Elizabeth enough he can just pick her up to make her listen.]
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Don't run in too fast, because you'll hear a scream and -
Yup, you're on one of the upper rafters of the Eiffel Tower. The metal beams thick enough for Bull to stand on but Elizabeth? Not so much. She stumbled back far too quickly and is now latching onto the edge of the beam, kicking her legs in fear as she angles.
Save her n please smack some sense into her. ]
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I didn't sign up for this!
[Look, she was caught off-guard by the height, and even more when Elizabeth almost falls down. That gets Shelley to hurry and-- okay, no, she's a bit too freaked out to hurry up despite Elizabeth's danger. Shelley won't be useful if she falls down too, after all.
Looks like Shelley won't be the one to rescue Elizabeth. It's up to you guys, Adelina, Bull!]
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I have you!
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[Give him a second to steady himself - he's never been this high on anything in his entire life, they literally do not make structures this tall back home. He's pretty quick to recover though, reaching out to help Addie and taking Elizabeth's other hand. He's strong enough to haul her up pretty easily, careful not to yank them all too hard and send them toppling over backwards.]
Got you too.
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She's nervous, trying not to look down at the endless feet that separate her and the ground. Not even Columbia gave her this much of a panic attack between skyhooks. However, the girl and the large fellow tug her up quickly and it's not until both hands and knees settle onto the thick steel beam. Don't worry guys, there's a few yards so no sudden accidental falls.
Elizabeth's hyperventilating, looking up to the trio confused. ]
But... why..? Why wouldn't you have let me fall - I'd rather die than be captured again. [ She's near tears, but - ] Who sent you?
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You asked us to come for you, Elizabeth. We aren't trying to capture you, we're only trying to bring you back to... somewhere real. This is an illusion.
[she says it gently, but she's reaching out carefully to make sure elizabeth doesn't slip again.]
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She's right. It sounds hard to believe, but you're being fooled. Besides...there's something very important to do, back in the real world. Something you'll want to be involved in.
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And we've got to hurry. For the record. Got a lot of people's lives on the line.
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... The real world...? But this is real - I arrived in Paris with Booker -
[ She stumbles, where was Booker...? Her head hurts and she can feel a slight trickle of blood down her nose. ]
...What do I need to do..? Why are they more important than... than this!?