Delmar (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
imhisaunt) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
hadriel_logs2017-10-23 07:25 pm
imhisaunt) wrote in hadriel_logs2017-10-23 07:25 pm
Entry tags:
Papa I Don't Need a Preacher I Ain't Some Kind of Creature...
Who: Delmar, Atem, Harlan Halliday, Michael Munroe [Closed]
What: Delmar's Love Dream
Where: Um...Delmar's Mind Palace...?
When: Oct. 23
Warnings: N/A. Will change if needed.
[You’ll find yourself sitting on a couch in a cozy, well-appointed sitting room, with an armchair to your right-hand side, a coffee table in front of you, and a television just behind it. The tv is conspicuously of a very old make for anyone who hails from a time after the 1960s.
There’s a remote, the dream has placed it in your hand. And as there seems to be no one else around at the moment, you might as well give it a go, right? You’ll find there are 5 channels, all of them in black and white.
Channel 1:
On the first channel you’ll see a teenage boy, maybe 15 or so, with dark hair and eyes dressed in a modest sweater vest, trousers, and a newsboy hat that he drops to the floor near to his knees. He’s trying to reach something tucked away under a mattress. Though you don’t know him you seem to know that the boy will get in trouble if his parents find the thing he’s hidden away. What he finally produces are newspaper clippings and as he lays them across the bed it can be seen that they are pictures of Rudolph Valentino in The Sheik and Douglas Fairbanks in the Mask of Zorro and Show People. The boy seems to just want to look at them. Holding one up, then another, teeth sinking into the flesh of his lower lip as he seems enchanted by them.
Then suddenly there are footsteps from the outside hall. The young man goes ridged and hastily scrambles together his picture collection, hurriedly shoving them back under the mattress.
At this point the channel will fade to static.
Channel 2:
Channel Two starts with a lot of commotion. The rustle of skirts and the clinking of glasses. It’s a dance hall and big band music fills the room as young people in their 20s swirl about one another in a feverish ecstatic frenzy. After a moment, that same young man from the previous channel, now older, appears. He’s well-dressed in a suit and tie, his long dark hair slicked back as per an old-fashioned style. For all intents and purposes he is a handsome man with pretty features and he gets no shortage of looks. A young woman giddily clings to his arm despite the fact that all the while he looks tense and uncomfortable, like he can’t even remember how to breathe. She drags him to the dance floor and he does his best, but at all times seems hyper aware of himself. Afraid. His movements tense and electric like a shy horse. This is particularly so when the young woman grabs the lapels of his jacket and pulls him forward into a kiss. His eyes go impossibly wide and his shoulders shoot upwards beneath his suit so quickly one might think the fabric would tear. But then he becomes aware of all the eyes on them. Young men and women looking at them expectantly. Hands trembling slightly he swallows hard, then pulls her in again for an emotionless kiss, though he’s trying his best to make it seem natural. Luckily for him the young woman and their temporary audience seem appeased, so much so they don’t even notice that man looks faint. In a quiet voice, one touched with a noticeable and most likely familiar Brooklyn-accent, the man asks his date if perhaps she’d like a drink. Anything for a chance to escape the crowd. When she agrees, still oblivious to his discomfort, he seems a little relieved. He follows the frill of her skirts to the bar and gets her whatever she asks. But for the rest of the scene his eyes follow the movements of the young men behind the bar, all young like himself and all too busy fussing over the pretty ladies flirting with them to notice the man watching them wistfully.
Once again, the scene fades away to static.
Channel 3:
The scene on channel three greets you with the same sitting room you currently find yourself in, and it seems as though, from the scene’s perspective, they are watching you, though entirely unaware that anyone is watching them back. There’s a familiar face now, Delmar as you know him, dressed in a plain t-shirt and trousers sitting in the armchair and waving at someone off-screen. A younger man, about 40, in a winter coat appears onscreen and takes a seat on the couch, pretty much where you are sitting on your side of the screen. The audio for this scene is muted. You can tell they are speaking to each other, Delmar and this younger man, but what it’s about is withheld. After a moment Delmar gets up from his chair and moves to sit next to him on the couch. It’s clear he wants to sit as close as possible, now and again leaning into him just slightly to murmur something. For the most part the younger man seems to be disinterested in what he has to say, instead focusing whatever is playing in front of them, i.e. the screen that separates you from them, Delmar’s eyes are on him, watching him adoringly.
-static-
Channel 4:
There’s music and dancing again, but this time it’s just another sitting room, one in a different house. Three people are up and dancing to music being played off an old record player. The younger man from the previous channel who is dancing with a woman about the same age, and near them is a younger girl watching the pair of them dance together while doing her own shuffling and swinging movements. They are all grinning and laughing, so much so that maybe you won’t notice right away, or at all, that behind them, having tucked himself in the far corner, Delmar watches red-eyed with tears rolling down his cheeks, wholly forgotten.
-static-
Channel 5:
Channel five seems to be broken. Or the reception is poor. There’s a scene playing, but large zig zagging patterns in the pixels obscure most of it. There are police officers and what looks like a lot of scuffling. Audio blips in and out, Delmar’s voice calling ‘I’m here too, James!’ discernible among the static, until it can be seen more clearly that the young man from the last two channels is being lead out of a room by policemen. Delmar, noticeably frayed from worry, starts to try and help, but the man in custody turns to him and shouts in his face “YOU’RE NOTHING BUT A LOUSY QUEER!”
At which point the screen devolves to static and white noise before the tv stops working altogether. It then that a hand from behind you will grab the remote out of your hand.
Delmar.
He’s standing behind you and maybe you can see his face in the reflection on the now black television screen or maybe you turn to look at him directly. Whichever it is, you are greeted with an expression torn between horror, heartbreak, and betrayal, his complexion a pallid gray resembling that of someone ill in hospital.
He says nothing.
What could he even begin to say now that you've seen what you've seen?]
What: Delmar's Love Dream
Where: Um...Delmar's Mind Palace...?
When: Oct. 23
Warnings: N/A. Will change if needed.
[You’ll find yourself sitting on a couch in a cozy, well-appointed sitting room, with an armchair to your right-hand side, a coffee table in front of you, and a television just behind it. The tv is conspicuously of a very old make for anyone who hails from a time after the 1960s.
There’s a remote, the dream has placed it in your hand. And as there seems to be no one else around at the moment, you might as well give it a go, right? You’ll find there are 5 channels, all of them in black and white.
Channel 1:
On the first channel you’ll see a teenage boy, maybe 15 or so, with dark hair and eyes dressed in a modest sweater vest, trousers, and a newsboy hat that he drops to the floor near to his knees. He’s trying to reach something tucked away under a mattress. Though you don’t know him you seem to know that the boy will get in trouble if his parents find the thing he’s hidden away. What he finally produces are newspaper clippings and as he lays them across the bed it can be seen that they are pictures of Rudolph Valentino in The Sheik and Douglas Fairbanks in the Mask of Zorro and Show People. The boy seems to just want to look at them. Holding one up, then another, teeth sinking into the flesh of his lower lip as he seems enchanted by them.
Then suddenly there are footsteps from the outside hall. The young man goes ridged and hastily scrambles together his picture collection, hurriedly shoving them back under the mattress.
At this point the channel will fade to static.
Channel 2:
Channel Two starts with a lot of commotion. The rustle of skirts and the clinking of glasses. It’s a dance hall and big band music fills the room as young people in their 20s swirl about one another in a feverish ecstatic frenzy. After a moment, that same young man from the previous channel, now older, appears. He’s well-dressed in a suit and tie, his long dark hair slicked back as per an old-fashioned style. For all intents and purposes he is a handsome man with pretty features and he gets no shortage of looks. A young woman giddily clings to his arm despite the fact that all the while he looks tense and uncomfortable, like he can’t even remember how to breathe. She drags him to the dance floor and he does his best, but at all times seems hyper aware of himself. Afraid. His movements tense and electric like a shy horse. This is particularly so when the young woman grabs the lapels of his jacket and pulls him forward into a kiss. His eyes go impossibly wide and his shoulders shoot upwards beneath his suit so quickly one might think the fabric would tear. But then he becomes aware of all the eyes on them. Young men and women looking at them expectantly. Hands trembling slightly he swallows hard, then pulls her in again for an emotionless kiss, though he’s trying his best to make it seem natural. Luckily for him the young woman and their temporary audience seem appeased, so much so they don’t even notice that man looks faint. In a quiet voice, one touched with a noticeable and most likely familiar Brooklyn-accent, the man asks his date if perhaps she’d like a drink. Anything for a chance to escape the crowd. When she agrees, still oblivious to his discomfort, he seems a little relieved. He follows the frill of her skirts to the bar and gets her whatever she asks. But for the rest of the scene his eyes follow the movements of the young men behind the bar, all young like himself and all too busy fussing over the pretty ladies flirting with them to notice the man watching them wistfully.
Once again, the scene fades away to static.
Channel 3:
The scene on channel three greets you with the same sitting room you currently find yourself in, and it seems as though, from the scene’s perspective, they are watching you, though entirely unaware that anyone is watching them back. There’s a familiar face now, Delmar as you know him, dressed in a plain t-shirt and trousers sitting in the armchair and waving at someone off-screen. A younger man, about 40, in a winter coat appears onscreen and takes a seat on the couch, pretty much where you are sitting on your side of the screen. The audio for this scene is muted. You can tell they are speaking to each other, Delmar and this younger man, but what it’s about is withheld. After a moment Delmar gets up from his chair and moves to sit next to him on the couch. It’s clear he wants to sit as close as possible, now and again leaning into him just slightly to murmur something. For the most part the younger man seems to be disinterested in what he has to say, instead focusing whatever is playing in front of them, i.e. the screen that separates you from them, Delmar’s eyes are on him, watching him adoringly.
-static-
Channel 4:
There’s music and dancing again, but this time it’s just another sitting room, one in a different house. Three people are up and dancing to music being played off an old record player. The younger man from the previous channel who is dancing with a woman about the same age, and near them is a younger girl watching the pair of them dance together while doing her own shuffling and swinging movements. They are all grinning and laughing, so much so that maybe you won’t notice right away, or at all, that behind them, having tucked himself in the far corner, Delmar watches red-eyed with tears rolling down his cheeks, wholly forgotten.
-static-
Channel 5:
Channel five seems to be broken. Or the reception is poor. There’s a scene playing, but large zig zagging patterns in the pixels obscure most of it. There are police officers and what looks like a lot of scuffling. Audio blips in and out, Delmar’s voice calling ‘I’m here too, James!’ discernible among the static, until it can be seen more clearly that the young man from the last two channels is being lead out of a room by policemen. Delmar, noticeably frayed from worry, starts to try and help, but the man in custody turns to him and shouts in his face “YOU’RE NOTHING BUT A LOUSY QUEER!”
At which point the screen devolves to static and white noise before the tv stops working altogether. It then that a hand from behind you will grab the remote out of your hand.
Delmar.
He’s standing behind you and maybe you can see his face in the reflection on the now black television screen or maybe you turn to look at him directly. Whichever it is, you are greeted with an expression torn between horror, heartbreak, and betrayal, his complexion a pallid gray resembling that of someone ill in hospital.
He says nothing.
What could he even begin to say now that you've seen what you've seen?]