11-18-2022, 08:38 PM
The blandness of the complex is surprising, especially in comparison to The Reaches. Since the pretense of civility has already been abolished, Jude doesn't bother to hide his frown as he turns wide and slides into a spot labeled VISITOR in white paint. Near had been raised in class, in culture, and to judge by the exterior of this place, he has opted into something as cookie-cutter as the mall they've come from. He wonders if this is Near's attempt to play-act 'normal'.
Their drive ends on the opening piano bars of a Celine Dion song. Jude cuts the engine, and when he opens the door, he silences the violin. (In fact, he opens the door specifically to keep the song from starting, because in the fashion of a true paranoiac, the random selections of the radio feel like a soundtrack inflicted upon him.)
Faithfully, he reaches into the backseat and gets his backpack.
Now Jude finally sees his opening to ask about the boyfriend. "Do you live alone?" His curiosity can now be tied back to practicality instead of self-indulgent nosiness. (And again, why does he care and what does it matter?)
Their drive ends on the opening piano bars of a Celine Dion song. Jude cuts the engine, and when he opens the door, he silences the violin. (In fact, he opens the door specifically to keep the song from starting, because in the fashion of a true paranoiac, the random selections of the radio feel like a soundtrack inflicted upon him.)
Faithfully, he reaches into the backseat and gets his backpack.
Now Jude finally sees his opening to ask about the boyfriend. "Do you live alone?" His curiosity can now be tied back to practicality instead of self-indulgent nosiness. (And again, why does he care and what does it matter?)