The Directors (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
productions) wrote2014-05-26 09:49 pm
productions) wrote2014-05-26 09:49 pm
Entry tags:
graveyard
You awaken in a darkened theatre.
In front of you is an enormous cinema screen. On it plays everything that's currently happening in the castle, accompanied by appropriate sound effects and background instrumentals when fitting. The seat you're sitting on is large and plush, and while there's many of them, there's enough room in the theatre for you to fully recline the seat into a comfortable bed if you wish. Under each seat is a sleeping mask and noise-cancelling headphones, in case you'd like to take a break from watching the show.
Follow the stairs up and you'll reach what should be the projection room. There are no projectors in here, however; it is simply a large and well-lit room above the main seating area, and a good place to hang out with your fellow eliminated contestants if shouting at each other across the aisles proves too much to handle.
If you leave the theatre through the door in the back, you'll find yourself in a hall. On one end is a concession stand. It's stocked with standard movie snacks - popcorn, candy and the like - but if you're feeling the urge for something else, you'll be able to find it stocked somewhere in the back. On the other end is a table with thirty wrapped bags and a placard reading 'A star for our stars! Please accept these lovely giftbags as a token of appreciation for your hard work, sponsored by [illegible smudge]'. Each bag has a tag bearing the name of someone in the mansion; you will only be able to open the bag with your name on it. As soon as you open it, any memories that have been taken from you, including those of the other people in the mansion that you may have forgotten, will be returned in their entirety. Within the bag are also objects from your home that you may want for your stay here, though you will find no weapons.
Past the hall is another door, this one wooden and seemingly decayed. If you go inside, you'll find a fairly simple, wooden room, that is empty except for a very large machine. It is difficult to tell what the machine is for; it has a touch screen that appears to be a control panel, as well as a large open space that seems to be part of the machine, but the machine is dead and won't turn on no matter what you do.
Still, at least you aren't alone here. You have your fellow players, as well as a few guests to keep you company.
Oh, and one more thing. At midnight following each execution, once all those who've died that week have woken up, a video will begin to play on screen.
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[Of course that means that somewhere. Some form of Belarus is dead and not going home regardless of what happens. And... now she's concerned she might possibly won't make it home either.]
What happened to this Belarus?
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What you have to understand is that as all-stars, your group is for the most part carefully selected; you've proven yourselves as reliable, bankable talent. The producers' least favorite members of the cast fell swiftly and smoothly to the deadweight ranks, where they were subsequently denied even an afterlife. [The Ampora-Freud-Kurashiki formation can be found elsewhere in the theater.]
Our season wasn't like that. They knew plenty about us in terms of individual information, but very little about how we would be received as performers in a cast on the show. Belarus as we knew her had "God" in her heart, a knife in her hand, and a bow in her hair. [anticlimactic but she has to make sure somehow Austria can pick her out of the gallery] She blew away competition like--you have to understand, picture your unpleasant hostess "Marlowe" being paid to present herself as more saccharine than Chiaki Nanami's public persona, as she was in that episode Ms. Cykes and Iceland won. The production needed to get rid of Belarus if Marlowe were to continue dominating the rankings, and the ratings themselves weren't very good anyway considering there hadn't even been a double murder yet. They also had Yuzu Aihara to worry about, but her story is a largely separate, albeit somewhat shorter one. [Kanaya you're clearly not very concerned about brevity here]
Fortunately for the producers, the designated killers that round were motivated much more effectively by fear of the mastermind instead of love, and would act at the drop of a hat in any way necessary. A particularly creative member of the clique took initiative that week, knowing full well she would be discovered and not particularly caring if she died in this kind of place. So after a relatively standard deadweight poisoning - Touko Aozaki cut off her extremities, her limbs, her head, and then her organs, about a dozen items in total, for a scavenger hunt that would take up plenty of screentime.
The way Belarus died and got dismembered was too theatrical - more horrible than even the most coldblooded killer would ever deem necessary or practical; an enormous, thick trail of evidence led to Ms. Aozaki, who clearly had the skill to do things differently if she had that as her goal. That was the first time anyone outside of the clique really started to suspect that there was a mastermind... no, beyond that: how much our every action was being staged. But Belarus was essentially comatose in the graveyard, thanks to the production's lack of favor towards her, and we had no hope of waking her back up before we fled from here.
[the end. She looks to Austria making sure the woman is still awake]
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...
[Austria listens looking legitimately horrified and as Kanaya goes on
and onshe continues to look more horrified.]That's... [Even Freud?] What became of her people?
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Even for her?
[As long as her people are alight that's what matters most but...] But... you're certain there's no way to help any of these shells?
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But not being able to help someone she considers hers suddenly makes her upset.]
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It's just... not the healthy thing for us to try to do now, I think. Latvia and Ukraine took the attempt to stir Belarus from her trance so seriously; that failure was a matter of their resources, not the amount of time they spent holding her hand.
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I spend eight weeks not understanding why I should care about people at home in the slightest. Now I finally understand and there's nothing I can do for the one right in front of me.
[Now she's "dead" and two designated killers she'd tried to protect are "dead" with the third and their mastermind on trial.
How sobering.]
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[It made Peko's trial a lot more heart wrenching.]
It's just... since I didn't understand my responsibilities it was probably just easier for me to end up caring about everyone in the house more. [Your admiration is probably misplaced.]
Although since my people don't really need me alive, maybe that wasn't such a bad thing... although it still remains to be seen if anything I did was purposeful in the slightest.
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Purposefulness is a privilege, not a right; don't worry too much if you turn out to have failed in that regard, it's happened to so many people. If we all were completely singleminded, we'd inevitably succumb to every incentive, including secret ones. We have to play more nuanced characters than they cast.