le_centre | OOM: An Adventure in the Making

Coufeyrac is beginning to suspect that Bossuet suspects danger, which is extremely suspicious because confronting a dragon sounded more like fun than anything when the story was told. Or at least, that's how it worked out in Courfeyrac's head. Before he was drunk. Or maybe because.

All thoughts on this matter dissolve when the door creaks open. What sits before them is little short of a horror - a horror neither of them has ever been prepared to face.

Thick books on the shelves. A large, mahogany desk in view. Plush carpet and piles of paper, the sight of a fountain pen that would cost as much as two months food for a poor family...Courfeyrac grips Bossuet's arm in fear, his eyes wide.

'Laigle,' he whispers, in horror. 'Is this what I think-?'

Edited 2015-01-22 22:30 (UTC)

"--A law office."

The words can't be taken back, once they're spoken, though putting the horror into words only makes it all the more real.

They had barely stepped into the room--had they even stepped into it at all?--when the door slams shut behind them.

Bossuet pats Courfeyrac's hand where it clutches his arm, and walks slowly into the middle of the room. So much mahogany. So much plush. So much leather binding. And two desks. Two desks: that's what really makes his heart begin to tremble. One desk tidier than the other, but both quite respectable; the tidier desk ranged about with small portraits. Photographs, they must be.

Lesgle reaches for one, picks it up and studies it, and then passes it to Courfeyrac, pale-faced.

Curly dark hair around an advancing bald spot. A well-cut coat and waistcoat over a middle-aged paunch. A cheerful smile: a successful smile.

Courfeyrac's face goes from theatrical horror to actual horror in the space of a heartbeat. He puts his lantern down - not the bottle, though - and takes the photograph. For once, he does not think about how such things are made, but instead stares at his own fat face, on top of his own fat body, in clothes that are easily as expensive as his father's and probably more so, and...

'This is my...no. No, this is our office.'

He stares at Bossuet.

'...did we not die after all?'

What. Is Going. On?

Theirs. Definitely theirs, both of them: Bossuet has gone to another photograph, larger, on the wall. Maître de Courfeyrac et Maître Lègle. Avocats. They're posed as if shaking hands, looking at the portrait-maker--photographer?--and smiling fixed smiles. A little older than they are now; younger than the Courfeyrac in the other photograph.

He hardly knows what to say.

This one must be his desk.

Courfeyrac drops 'his' picture on the floor, and strides to the second desk, snatching up the nearest photograph he can reach. It shows Bossuet, as bald as ever, of course, except now with an enormous beard that reaches halfway down to his rotund belly. His clothes are perhaps not cut quite so finely as de Courfeyrac's, but he is still clearly a prosperous man; the overwhelming impression is of a small, well-dressed egg. With a beard.

He hands the photograph over silently. And then drinks deeply, wiping his mouth with the back of his hand in a studious show of defiance.

'Well.'

He hopes they are dead as they both think they are. There are cupboards against one wall; he pulls one open and looks at files, closes it, tries another and starts to rummage. He doesn't understand what's going on here, but he'd like some proof that it is all unreal.

Well--a tall, well-dressed egg, anyway. With a beard. It is the beard of a man who feels that he is being ever-so-slightly defiant of convention: look at this touch of whimsy.

Bossuet takes it back to the desk and starts rummaging as well, frantically. Papers. Papers, papers, papers, all very business-like. The next drawer is reassuringly miscellaneous at first glance--a dictionary, a small half-full bottle of brandy. Another photograph and a small clump of letters.

He's expecting another picture of himself or Courfeyrac. It's not. He sits down leglessly in the (very comfortable) chair at the desk and stares, feeling horribly sober.

Joly looks very well. The blonde woman must be his wife. A baby in her arms, a small child on Joly's knee.

'We have a dinner reservation with the Baron Pontmercy this evening, it seems,' he says, his face deep in an appointment diary.

'And every one of our clients appears to be-'

He snaps the thing shut in disgust, not wanting to voice it. There is no way to escape the fact. He has become his father. And worse, perhaps, because his father never stood on a barricade. To believe one thing so strongly, and then entirely reverse is worse than never believing in the thing to start with.

'What do you have there?'

He comes to see. And when he does, there is a twist of sorrow in his chest for his friend. He squeezes his shoulder in genuine sympathy, and says, quietly, 'do not think of it, Bossuet. This is not us, it cannot be. It is not real.'

"No..." No; even their appearance in Hugo's novel is more them than this. But it's not impossible. Haven't they joked about it often enough? Their law careers! Their wives and children!

He puts the photograph back and has a glance at the half-dozen letters next to it. Joly's handwriting. Dated from Avignon.

"No, it isn't us. Whatever else one might say about us, we possess the virtue of having escaped bourgeois middle age. I wonder what happened in '32, in this--world?" Laigle looks over his shoulder at the window, beyond which there does appear to be a Paris.

Courfeyrac goes to the window, and peers out. Despite the awfulness of this room, homesickness stabs at his belly. It's still Paris out there.

'We could go and find out,' he says quietly, not knowing if it's even possible.

'There must be a way to get out there.'

"Leaping out the window from here would certainly be a statement."

The last few minutes have had an unpleasantly sobering effect. Lesgle joins Courfeyrac at the window and considers: is he drunk enough for this? He should probably have another good long pull at his bottle first--and so he does.

"--Ah! Well, I'm your man, if you want to try it." Eyebrows, eyebrows, eyebrows.

There's the usual little grill in front of the window. It would slow down anyone actually trying to leap, but it makes it moderately easier to climb.

Eyebrows, eyebrows, eyebrows.

'Yes. Let's.'

This is likely not a good idea at all, but he is still rather drunk - though not in the fun way, now - and there is a city in front of him that at least approximates Paris. The labyrinth will surely bring them back in so they can quest on to find the future!version that is not this, and then they can continue.

He hoists himself up onto the sill - first trusting Bossuet with his bottle - and leans out as far as he's able.

'There's a carriage below, a very fine one. Do you suppose it's ours?'

He imagines it is. And so, no one can object if he lets himself dangle and then drop on to the roof of it, surely? No.

"It had damned well better not be. A carriage? That means farewell, omnibus! and farewell, diligence! --Once you're down there, let me hand you down the bottles, and I'll follow when they're safe."

Priorities.

Edited 2015-01-23 16:01 (UTC)

The man has sense, and Courfeyrac applauds him for it. He takes the bottles, and slides off the carriage to the ground without breaking anything. This is obviously worthy of having a drink, and he's still doing so when Bossuet joins him.

'Well. Shall we see what's here? By the smell, I'd say we were not so far from the river.'

There is a hint of water to the air - but not, he notices, so much of what else is usually there. The overt smell of drains is not entirely absent, but is far weaker than he is used to. Either they are in a particularly affluent street, or the sewers are vastly improved.

It is a little wrong, truth be told.

"We must be, but--" The same thing troubling Courfeyrac has struck Lesgle. This isn't nearly as potent as their usual Paris. He too pauses to take a drink--and then hastily wipes his mouth.

Someone is shouting, in a very sincere and heartfelt way, "STOP, THIEF!"

Not that there's anything unusual about that in Paris, but Lesgle is getting a sinking feeling. "Don't look now, Courfeyrac, but I think they mean us." It's the sort of thing one says just before shouting Run! and making for the nearest escape route.

Courfeyrac does look, but not at the source of the voice. He cuts a glance at Bossuet that clearly says oops, then tugs the man's sleeve, turns and runs.

It is sort of amusing, given that neither are a stranger to avoiding the police, but it is fair to say he was not expecting it. And he doesn't do anything as amateur as yell 'run!' because Bossuet knows what to do as well as he does.

At the end of the street, the smell of water is much stronger and he can see Notre Dame to his right. So he turns left, because he has no intention of being hemmed in by the water. Better to head towards the slums...even if there seems to be something wrong with the streets, which are too wide and too open, and far too neat.

'Do you think?' he pants, roughly, 'everything will be where it was?'

"Some of it," he pants back. (Damn, but he's out of shape. No need to walk very far in Milliways, except for one's own amusement.) "They--changed a lot."

Wide and neat or not, one can still turn quickly around a corner, and--with luck that seems suspiciously good--find an open café door.

Courfeyrac tumbles through it with a defiant laugh...and the noise that greets them is not at all what he expected. For one thing, there is no cafe. They are in a street, and there appears to be a fight going on. More than a fight - the unmistakable sound of gunfire rips the air, men sprint past yelling something he doesn't catch, and...well, there's a woman in a skirt short enough to expose her legs. Courfeyrac blinks, there's another flurry of bullets from somewhere, and he thinks perhaps that standing still is not in their best interests.

He glances at Bossuet. 'Follow them?' he says, already starting to move; from the opposite direction, there is a low and ominous rumble and a sound that he has never heard before.

Bossuet has heard it before: in his brief visit to Paris of 2014. It's the new street noise. But he's no less disoriented than Courfeyrac, and begins to turn around dazedly, sorting out whether "follow them" is a good plan.

And then quite abruptly, the woman in a very short skirt is in front of them, grabbing Bossuet's arm and pulling him out of the street. So he grabs Courfeyrac's, and then they are in a café again.

It's not much of a café. Maybe it was before the window was broken and someone put bullet holes in the wall, but at the moment, it's not much. Laigle would take in the décor a little more thoroughly, except that the young woman in the very short skirt is pointing a gun at them and demanding their names.

Are they with the boches?

...what are the boches?

He feels it would probably be unwise to mutter, 'are we with the boches?' to Bossuet, but cannot easily guess what the correct answer should be. She does seem very fervent, and looks as though she knows how to use that gun.

He glances over, and decides to try and brazen it out. 'We are for the people, mademoiselle!'

This is furnished with a wide grin. It quite often works on women!

"Stupid question," someone says flatly from behind the woman with the gun. It's another woman with a gun, in fact. Older: forty or fifty to the girl's eighteen or so. There are two or three men in the room too, and quite a lot of weaponry. "They're not going to say yes. --All right, Mr. For-The-People, who are you really? Nina, check them for weapons."

"My name is Lègle," Bossuet begins to volunteer, but he stops open-mouthed when Nina-with-the-gun steps forward and starts briskly patting him down.

Oh my.

Courfeyrac's eyes go wide. Well! That is most unfair, seeing as he is the one who spoke to her first.

'And I am Courfeyrac,' he volunteers, perhaps hoping to elicit the same response from Nina.

In the meantime, he turns his smile on the older woman. 'Believe me, madame, that is an erroneous question. Even we are not sure who we are much of the time. We have no weapons - you may check if you like, mademoiselle Nina-' it's worth a go, '-and all we currently wish is to not get shot.'

A pause.

'And possibly some wine, if there is some available.'

Lesgle is wondering about his sudden stroke of luck, when the girl takes away both his bottle and his flask. "Oh, now, that's not fair--"

"They're not just stupid, Mom, they're drunk. Too scared to go out into the street sober." She tosses the bottle and the flask to the nearest of the men, who gives them a quick inspection, and turns to Courfeyrac. She'll be taking his bottle as well, yes. "Should have stayed in if you didn't want to get shot."

He does, it must be noted, put up a little resistance at having the bottle taken away; for a moment there is a small tug-of-war, which he tries to turn into a flirtatious game by grinning again.

But really, no, do not take the alcohol away.

'I beg your pardon, mademoiselle,' he says, as the thing slips from his grasp. 'But having been shot more than once, I have no desire to be so again. Indeed, it would be quite unnecessary.'

He is suddenly hit by the remembrance of Gavroche, and his cry of 'they are shooting my dead men for me!' He snorts a laugh, both amused and sorrowful, and then pushes the thought firmly away.

'We seem to have stumbled into something unprepared. Well, why not? Lesgle, what say you? Should we take up arms again?'

"I have it!" he exclaims suddenly, with a look of revelation that suggests his mind has been somewhere else. "The Resistance, surely. Courfeyrac, this is marvelous, this is remarkable. Haven't you read about it? Mademoiselle, is it 1944? Ah, the summer--August, I think?"

The little group in the café has moved away from them, except for the young woman and one of the men: and those two look embarrassed and annoyed in the way of people who have had strangely-dressed confused drunks thrown at them. "Well--never mind, Mademoiselle. Courfeyrac, your instinct is correct. We shall take up arms! For Paris, for France, for the future!"

This is met by their quasi-captors with looks of irritated, patronizing, doubtful amusement, rather than cheers.

'Yes!'

Courfeyrac looks instantly delighted, and clasps Bossuet's arm in excitement. A chance to fight again for France! He will never say no.

The man, though, is looking suspicious and mutters something in the young woman's ear. Her eyes narrow, and she says, 'Courfeyrac and Lesgle? Are these code names?'

It takes a moment for Courfeyrac to understand what she means, or at least, a part of what she means. The context is still quite new to him. But then he beams, and says, 'no!'

Because surely if she has read that book, she will know they'll be on her side? And also she should like them quite a bit, seeing as they're famous.

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