Monica looks down at the
playbill in her hand and then up to Jefferson Grant with a slight smile on her face.
"What kind of play is this now? Romance? Tragedy? Comedy? I cannot make it out from the title?"
------
Pickering can't help but glance up from huddling in his overcoat against the cold at the beautiful girl with the ghastly American accent.
"Cyril, old bean, I have to agree with that gorgeous creature, what is the genre of this work? We certainly cannot be standing in this new ice age for the prestige of opening night and bragging rights?"
------
Humblet turns his attention form the photographer camera to the conversation "Well Jef to be honest it was you who suggested we go see this play. Some thing about the writer Estus being a rising talent, or was it the leading actress?. But to answer young lady question I'm do not really know, I hope it is a comedy as I have not seen a god one yet this season. Now Jef do you think that photographer can possibly have that new reflex leika ? it's price should be to expensive for a street photographer."
-----
Anthony shuffles his feet as the wait in line goes on and on. He flips up the collar of his coat as a deterrent against the bitter cold. Turning to Jefferson with a sidelong glance at Monica, he says, "I don't believe I've had the pleasure." He takes Monica's hand in his and kisses it. "Anthony Murdock, professor of art. And you are?" Glancing at Jefferson, he is certain he sees a bit of irritation in his friend's face. Suppressing a chuckle, he releases Monica's hand. "So, what exactly is this play about anyway?"
------
Jefferson glances at the people huddled in the wind, "I've no idea," he says off handedly before turning back. "Did some one just say my name? I could have sworn..." he trails off before straightening up and turning his attention back to his companions. “That happens a lot these days... I imagine its a romance: 'The Queen and the Stranger' and all.”
------
Monica gives Anthony a warm smile. "Monica Gilford? I am Professor Thomas Williamsen's secretary." She gives Jefferson a sly glance. "You mean that Jeff has not mentioned me at all?"
The doors to the theater open and the line begins to slowly advance.
------
Pickering
[sblock]Pickering hears the mention of a Professor Thomas Williamsen from the pretty girl behind him. Pickering recognizes the name as a chemistry professor at Oxford. Pickering and Williamsen are both members of the same men's club. [/sblock]
I've not had the chance to tell poor Anthony about anything of late," responds Jeff, very seriously. "I've been busy at the museum, tying down loose ends." He grins and cocks an eyebrow smugly before adding, "How he has survived without truly intellectual conversations and my wit I'll never know." He flashes Monica a smile and chuckles, "I have to admit that a trip to the theatre and good company will help to clear my head, but I think perhaps old Williamsen just wanted me out from under foot."
-----
A pleasant looking man turns and smiles at Anthony. "Pardon me, but did you say your name was Professor Anthony Murdock? I believe that we have corresponded. I am Doctor Allistair Pickering."
-----
As the patrons move into the theater, you are handed a another playbill along with a
cast list.
The interior of the theater is gloomy with illumination coming from gas lamps evenly set around the red-painted walls and from the foot lamps below the stage's edge. The theater is small but still less than half full - there are about a hundred people present.
You sit down next to each other about 6 rows up from the stage.
-----
Anthony turns to Pickering. "Yes, yes...I remember our corresponding. How are you, sir?"
Once inside the theater, Anthony takes his seat and scans the playbill. The character names puzzle him. He is now even less certain what the play will actually be about than he was before getting inside and looking over the playbill.
Turning to the others he says, "Anyone have any idea what this is?"
------
Humbelt looks at the new playbill "Well there is a queen and a stranger as promised. Then there are the queens sons and daughters, and the king of course."
------
Cyril's eye catch on a small detail of the playbill "A yellow king... doesn't ring a bell, nor does the country Carcossa. I'm quite sure it is not in the orient or europe. Allistair do you recall the name Carcossa, perhaps from the greek mythology ?. I never seem to recall all the places Homer mentioned in the odyssey. Or perhaps one of your colleagues is familiar with it."
"It says that she is the queen of Ythill. I've not a clue as to who or what Corcosa is though." Jefferson then leans towards Monica, "Perhaps I've made a poor choice of plays for our date. I'll take you out again next week if the evening turns out to be anything other then exciting."
------
Although Allistair hears his freind and collegue, he is busy racking his mind, trying to determine why the names from this obscure play seem so hauntingly familiar...
[sblock]Knowledge (occult) Int 10 = +4 +6,
http://invisiblecastle.com/find.py?id=402481 , final score 18. [/sblock]
-----
Anthony also turns his attention back to the playbill, studying the names and places, trying to figure out what they are or what they represent.
OOC: Knowledge (Occult) roll, natural 20 + 10 = 30
http://invisiblecastle.com/find.py?id=402879
Allistair
[sblock]None of the names or places sound familiar to you occult wise. [/sblock]
Anthony
[sblock]You think that Carcosa is related to a banned french play by the name of "The King in Yellow". Though you have never read it. [/sblock]
-----
Soon the lights go down and the play begins. The stage is professional but sparse.
The Queen and the Stranger.
Act One, Scene 1.
A palace, a balcony. On a couch, once opulent and now faded and threadbare, reclines the Queen Cassilda. Behind her twin suns appear in the sky of a painted backdrop. Enter her two sons and her daughter. The four discuss matters of succession although no one is named and no one calles another by name. The sons argue and they complain to their mother but Cassilda does not give them the attention they would wish, and in the end she wearily sends them away. The talk seems to be one they have had many times before - the actors bring across a feeling of ennui, of going through the motions. It seems to you that the female actors are more accomplished than the male.
Act One, Scene 2.
Cassilda's receiving room. The queen stands at a long table. She reads aloud from a scroll a report which names her city as Yhtill and her kingdom as Hastur and talks of war that goes on against the kingdom of Alar. The conflict has no end in sight. A child with jeweled fingers enters. It's unclear if he is another of the queen's sons although he talks to her with familiarity and even bullies her. They speak of Carcosa, a wandering dreamlike city which is a place of several unusual aspects: it appears overnight; it is either on or beyond the waters below the palace, Hali; the towers of the city slip behind the moons at night and on seeing the city one knows its name. A fifth singularity no one speaks of. Cassilda sings a sad song about Carcosa's fate. The priest, Naotalba, enters. He eyes the child with distrust but it seems the queen has no power to dismiss the youth. Naotalba describes uncertainty out in the city. A stranger has arrived, an unheard of event.
-----
Anthony Murdock
[sblock]The queen greets the white masked stranger who appears indifferent to her status. She seems to know who he is and to have expected him, but is surprised he as come so soon. Whe she puts this to him he replies that, no, she is really surprised that he wasn't here before. They talk for a good period more but you realize that it's all clever word play designed to obfuscate a hidden truth and lose interest in the dialogue as you consider what is not being said. A couple of few rows in front of you start whispering urgently. They gather their things and begin to leave. You are very annoyed at this but actually you can sense a repressed tension in yourself, too, at odds with what you would call this play's understated portrayal of ill-defined events. The stage regains you attention, as the stranger makes to embrace the queen. [/sblock]
Jefferson Grant
[sblock]The white-masked stranger enters; Cassilda is oblivious to his presence. She begins a soliloquy in which she speaks of each of her children who wander in distractedly as they are discussed (they are named here for the first time): her eldest son, Thale, restless, contented and cruel; Uoht, her second son, flawed, ambitious, sensitive; Camilla, her daughter, quiet but influential. She bemoans how the family was only ever held together by the Yellow Sign. The theater is absolutely still. You sense tension in yourself, something tells you a truly awful event is about to occur. As all the other actors save Cassilda leave, the silent stranger, almost forgotten in the shadows, steps past her to the very front of the stage. He faces the audience. [/sblock]
Cyril Humblet
[sblock]The queen, Cassilda, is alone on the stage. She is quiet for almost a minute - very odd for a play - and then she reacts as though someone has joined her although no one has. She speaks of the approach of madness, and she talks ever more excitedly about the power of the king, the King in Yellow, and there are pauses in her conversation as though she is listening to another side. Then a second figure enters wearing long silk robes and a bone-white mask. She ignores him. Someone at the back of the theater shouts out and people in front of you turn to look as the disturbance continues. On the stage the queen now looks at the newcomer. She visibly struggles to remain calm.[/sblock]
Dr. Allistair Pickering
[sblock]The white-masked stranger enters; Cassilda is oblivious to his presence. She begins a soliloquy in which she speaks of each of her children who wander in distractedly as they are discussed (they are named here for the first time): her eldest son, Thale, restless, contented and cruel; Uoht, her second son, flawed, ambitious, sensitive; Camilla, her daughter, quiet but influential. She bemoans how the family was only ever held together by the Yellow Sign. The theater is absolutely still. You sense tension in yourself, something tells you a truly awful event is about to occur. As all the other actors save Cassilda leave, the silent stranger, almost forgotten in the shadows, steps past her to the very front of the stage. He faces the audience. [/sblock]
The stranger throws open his arms to reveal a strange symbol painted on is breast and sleeve. Cassilda collapses on the ground.
Pickering
[sblock] You notice that Cassilda was not looking at the Stranger when he opened his arms. [/sblock]
------
There are gasps and cries from other audience member all around you and then the stage lights go down and the house lights go up.
A couple of people appear to have been overcome with mild hysterics and there is muffled sobbing from several more. One or two gentlemen are conversing very loudly about the play in deprecating terms, as though seeking support. But many of the audience members appeared spellbound. Some people are going home, but not many. One woman who is leaving seems to be being taken out against her wishes.
Monica softly sobs in her seat. A single tear roles down her face.
-----
Murdock
[sblock] You feel energized and greatly moved by the play. [/sblock]
Grant
[sblock] You seemed strangely moved by the play and do not wish to leave.[/sblock]
What an curious play," Grant whispers, almost to himself. "I do hope the actors will come out for a bow. What did you think Monica?" He turns to her, "Are you all right my dear?"
Monica looks over to Grant. "Oh...I'm so sorry. I don't normally get all emotional like this." She pulls out a handkerchief to wipe her cheek. "But...it's so....so.....wonderful and terrible....at the same time....."
------
OOC: This is just a short intermission. There is one more Act to go.
Cyril was about to go over to the distressed lady and offer his help. It appears however that the matter was already taken care of when the room lights turned on.
"I don't recall ever seeing an audience responding in such an emotional way to a play. You know I think it could be the lights. I seem to remember reading about using light to such an effect in a moving picture. So there is no reason way it could not be done in a theater. Rather likely the director borrowed this technique from the French. They are very talented in arts the French, especially visual arts."
------
Allistair watches the stage for a moment, then stands to strech turning to contemplate the audience's mixed reactions. Lost in thought he is too slow to react to Monica's distress. He looks to his freind, Cyril, shall we step outside for a cigar? I happen to have acquired a few fine Cuban's recently.
[sblock]Assuming that Lukeworm agrees, the two walk towards the exit for a smoke - otherwise the conversation continues in place. [/sblock]
"I agree, it..." Jefferson trails off, turning to look at the stage again. "It is very captivating; I think actors have out done themselves already. I hope they come out for a bow... at the end of course, but I'm curious to see the Stranger's face."
He glaces at Cyril, "The lighting must have been subtle in deed: I didn't notice it. I was too focused on that odd symbol on his chest."
OOC: Knowledge Occult role about the symbol
1d20+10=27
------
"Sure, I do need to clear my head for a moment or two."
As they smoke a well needed cigar in the open air Cyril notice a strange reference by his friend.
"Yellow Sign? I must have missed that line. The only yellow I recall is the King in Yellow, and he was only mentioned not actually in the play. Come to think of that who do you think was the masked figure in the last scene. By the queen's reaction I can see him as some herald of the ill tidings, or a representation of death."
OOC: The symbol is unknown to Jefferson.
-----
Speaking in a consirtorial wisper, Allistair smiles at his Cyril. Thank-you, my old freind. You have confirmed for me something that has gnawed at my subconscious mind. I am now convinced that somehow this play is either an occult ritual or celebration of bizzare powers. I suggest that we return, but be wary and as alert as if this were night in Ypres with the Hun on the prowl.
Pickering drops his cigar in a convenient ash stand. A lesser man would probably leave now knowing what we do, yet I feel compelled to stay. Not the compulsion that a moth has to a flame however, only the fear of sinking into ennui. The Doctor smiles again at his freind, "Frankly, life has been a bit too boring of late. The brain grows weak without exercise, like the body. Perhaps this event shall provide such exercise, eh?"
-----
The intermission is over and everyone returns to their seats. The house lights go down and the stage lights come up.
Act Two, Scene 1
A room in the palace that has been taken by the Stranger. The surroundings are severe. One by one the principals come to talk to him. Thale wheedles and threatens in order to try and gain the Stranger's help in pressing his own suit for the throne. Uoht tries to bargain with him to gain support for his own claim. Camilla wants nothing. She says she wants to listen, to learn something from him but then she does not listen, she speaks of Yhtill's troubles. Cassilda starts to treat him as an enemy but then suggests an alliance, even a marriage of convenience between them and whatever he represents. Finally the child come in and stands mutely. You realize that the Stranger has not said a word the entire scene. The lights go down and we move to the final scene.
Act Two, Scene 2
A masked ball is taking place on the palace balcony. The guests are finely dressed, intricately masked and they move to music played by the small house orchestra. It takes a moment to see the Stranger; he wears a bone white mask and moves stiffly and without gaiety.
After a while the revelers begin to take off their masks. Their eyes look bright and their actions extravagant, unrestrained. The Stranger keeps his mask - rather he wears no mask! He grasps the Queen by the arm and she collapses. Another figure appears in tattered robes: it is the King in Yellow. He is huge and he holds a sword and a torch that emits smoke but no light. He talks with the Queen and the priest Naotalba. From asides amongst the revelers it is clear that now all have seen the Yellow Sign, all must wear the mask - Yhtill has become Carcosa and they are no longer entirely human. The King disappears. Out of the crowd of fear-stricken guests runs the child. He goes to the Stranger who himself has fallen to the ground and taking him by the hand follows in the wake of the King.
As the play ends the audience becomes confused. The final lines of dialogue peter out somehow distorted and lost......
The curtain falls and suddenly....................all is uproar! It is like a spell has been lifted. Screams, cries, and moans sweep the audience.
Two men rush the stage and attempt to climb up upon it. Stage hands try to restrain them.
A woman who is seated next to Jefferson lays slumped in her chair, eyes glazed over, her tongue hanging from her mouth. Her husband cries out her name and attempts to revive her.
In front of Cyrill, a gray haired man in a fine suit stands and begins to flail about with his cane hitting those around him. He grunts and curses under his breath.
Several rows over a young woman wildly claws at the face of the person next to her.
You hear the sound of a glass breaking and a cry of pain from the back of the theater.
All is chaos........
Murdock
[sblock]Lose 2 sanity from seeing the Yellow Sign. [/sblock]
Grant
[sblock]Lose 3 sanity from seeing the play. [/sblock]
Jefferson sits staring at the stage and the hysterical masses. At first he stares blankly, but after a couple of seconds he gathers himself and stands, checking to see how Monica is taking this and looking to the back of the theater to see what was broken.
"Cyril! Hurry! Lets' try and catch the cast! We have a mystery here, and I would know more about this "play". What say you? Are you with me?"
------
Allistair we can not rush out when all is chaos, someone may be hurt. Or injured by this fool with the cane."'
Cyril stand's up and address the man in front of him, summoning his lifetime experience of commanding men. "Sir, I must ask you to comedown before you'l hurt somone!"
OOC: Diplomacy or Intimidate 19 (Take ten).
Whether he didn't hear his freind in the commotion or felt that Cyril was right in trying to restore order, Allistair begins moving through the crowd towards the backstage entrances.
"Follow me when you can, old bean!"
He plans to try and find and confront the actors, if he can.
-----
Monica seems distressed and confused about the chaos erupting all around. She looks at Jefferson. "What in the world? What's going on?" she says.
------
Anthony takes a moment to shake off the effects that the play had on him. The chaos erupting in the theater brings him back to his senses quickly enough however. He leaps over the rows of seats, trying to reach the woman clawing at the face of the person sitting net to her. Upon reaching her, he will try to restrain her from hurting anyone else. At the same time he will attempt to calm her down, hoping that she will cease her efforts to injure others.
"I'm not sure whats going on either," says Jefferson, "but I intend to find out. I need you to get outside though, it isn't safe to stay here." He looks for the clearest path to the door, and points. In a calming voice he says, "Go out side and wait for me, I need to help Anthony, but I wont be long."
Diplomacy (1d20+11=22)
http://invisiblecastle.com/find.py?id=413488
The man swings his cane and strikes at Cyril. Though hit several times the blows are weak and do no real damage. A man who was next to him grabs the gentleman's arm. "Help me get that cane away from him!" he says to Cyril.
