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    Possession in an abandoned house, FMA, and mechanists who work on human souls

    by , 12-12-2013 at 12:08 AM (357 Views)
    Fragments, one involving finding an old sketchbook with an image of a character I haven't drawn (or thought about) in years; another involving a song called Sleepwalker.

    A man and a woman in an old abandoned house, the woman's become possessed by the spirit of her ancestor who'd lived there. She says she's hungry, which I, 3rd person observer, am certain is a lead-in to her doing something unnecessarily creepy. She catches a rat and starts chewing on it. I mentally compare it to evil overlords using skulls as building material, too over-the-top and nonsensical to actually be creepy. The possessing spirit knows this man, and she's saying to him, "I will say, however, this is the first time I've seen you in anything but pain." When she says that, he thinks briefly of a relationship he has with someone, but he says, "Come on, be serious -" He then deliberately misremembers her name, trying to downplay the authority she has over him.

    (Woke up. Back to sleep.)

    FMA-based, Al is on some huge vehicle, like a train but so large it has a deck like a ship. An old man wearing armor and automail is introducing him to what appears to be a little girl, introducing her as a 'mechanist' who works on the human soul, something that's commonplace here, and which Al's been researching and is excited to finally get a look at. There's a good chance that she's not human but some kind of automaton, that's often the case for mechanists; Al isn't aware of this. She's thinking the same thing about Al, she expects the inside of his armor to be full of bolts and springs.

    The old man who'd introduced the two of them gets his automail caught in some piece of machinery, which is dangerous. Al and someone else, a large man, work together to free him, but in the process the machinery pierces a hole through Al's armor, allowing the little girl to see inside and realize it's empty. Al is very self-conscious about this, but the girl's thinking something about how impressed she is that "he'll continue investigating the secrets he was investigating, not the secrets of his body" - the research he's been doing has no bearing on his own problem.

    Ed is on a different train. Kimblee, a prisoner, is being transported in the same car, it's a car for military personnel, and Kimblee's saying something about whether (something happens) or (something else happens), he just doesn't care; this annoys Ed. He gets off the train and heads for a stadium where he's supposed to meet Mustang, and he's supposed to make it look like it's a coincidence that they both happen to be there, since they're being watched.

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