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iffeelscouldkill · 5 years ago

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Adjusting [Part 3: Campbell]

A/N: It liiiives! Here is a long overdue Chapter 3. As compensation for the wait, this chapter is longer than the other two chapters put together :D

I originally drafted this chapter some time ago, but then once I started serialising the fic on AO3, decided that I wanted to rework the middle part. I wound up redrafting most of it over the past few months, and it was a bit of a slog at times, but I'm much, much happier with the final result. A big big thank you once again goes to my wonderfully encouraging beta @dragonsthough101, and to @whelvenwings for writing with me and listening to my Fic Woe and helping me fix That One Section that I was struggling with!

A heads up that this chapter contains some quite heavy conversations about wartime under an oppressive regime, loss and regret. There are no graphic descriptions of violence, just a lot of fairly grim introspection. It probably goes without saying, but I'm not a military veteran myself, so I based all of this on the podcast canon and my own imagination.

Please take care of yourselves, and I hope you all enjoy 💜

---

Summary: It turns out that there isn’t a blueprint for quitting your job, turning your back on the organisation that you’d built your life around, committing treason and abandoning your friends and family to go travel across the galaxy with a band of wanted criminals. Fortunately, RJ now knows some people who have been there.

Or: Five times that RJ McCabe shares a late-night drink with someone on the Iris 2.

Part 1 | Part 2 | Read on AO3

---

About three weeks on from the Iris’ flight from New Jupiter, Sana calls a crew meeting. It isn’t their first by any means, but until now, crew meetings have either been about the division of chores or about pooling information to convey to the resistance movement. This one is different.

“We’re making another stop-off,” she tells the crew once they’re all assembled, Arkady looking half-asleep and disgruntled at the earliness of the hour. “I’ve arranged to meet a… long-time contact of ours. I know that we need to be careful about who we trust outside of the crew on this ship and confirmed members of the anti-IGR resistance, but… he’s a friend. An old friend.”

RJ raises their hand. “Is it Ignatius Campbell?” they ask, feeling like they’re on a quiz show.

Arkady revives slightly and snorts. “Got it in one, kid.”

“Don’t call me that,” RJ shoots back automatically. This is old, well-worn banter between them at this point.

Sana blushes slightly. “Right. I forgot that of course… you and Park know exactly who Campbell is.” She gives them a sidelong look, and RJ suspects that she’s remembering her fractious exchange with Campbell after Elion, and thinking about exactly what they would have heard.

“If it’s any consolation, we’ve been trying to forget about the recordings, too,” Park offers, slightly abashed, as he always is when this subject comes up.

RJ finds it awkward, too, but doesn’t see any point in pretending that they weren’t at one point on very different sides. Or that listening to the recordings from the Rumor wasn’t literally their job. But Park is right – they have been doing their best to forget about those long days and nights spent cooped up in their tiny office, replaying audio over and over. Know thy enemy had practically been RJ’s motto back in those days, but the Rumor crew aren’t their enemies any more. And RJ wants to move on from the person they were back then.

“I’ve spoken to Campbell a couple of times since… Well, since Elion,” Sana continues. “Trying to smooth things over since we-”

“Accused him of backstabbing us?” Arkady volunteers drily.

“To be fair, we really didn’t have any other good theories about what was going on,” Brian puts in. “None of us would have ever jumped to ‘an invisible robot nanoswarm’ as the source of our leak.”

Sana nods. “I know, and Campbell understands that, too. That’s why he’s willing to meet with us, and help us out – with supplies, and with information about the situation on Telemachus as well as some of the other Regime planets.”

“What about payment?” Violet asks. “We’re pretty light on funds at the moment, and we don’t have any cargo to trade either.”

“Campbell has agreed to effectively give us the goods on credit, with the understanding that we’ll pay at a later date,” Sana replies. “We’re also trading a little information in exchange for what he knows. Nothing top-secret, just a bit about the Regime’s movements, to help him keep two steps ahead.”

“And did you ‘barter’ with him to get him to agree to that deal?” Arkady asks, raising her eyebrows in a significant way.

Sana reddens a little, but says with dignity, “I don’t know what you’re implying. But yes, we did haggle for a bit.”

“Nice to hear that you two are back on ‘bartering’ terms,” says Arkady with a smirk.

Krejjh, looking between Arkady and Sana, grins as if Ferin has come early.

Ignoring this, Sana continues, “It’s obviously too dangerous for us to land on any of the IGR planets, so I’ve arranged to meet Campbell on Halton Station, in the Neutral Zone.”

Brian instantly perks up. “Dude! We’re going to Neuzo? Wait, isn’t Halton Station-”

“Where Thasia and Emily Craddock grew up,” Krejjh finishes eagerly.

“Yeah. To be honest, I picked it half because I knew the name, but it happens to be in a particularly convenient location for us, too,” says Sana. “It’s also not that populated, so there’s less chance of us attracting unwanted attention.”

“Does this mean I’ll be able to go outside?” Krejjh asks, practically vibrating with excitement. “Oh, for the gentle caress of the wind! The touch of the ground beneath my feet!”

“I don’t see why not,” Sana says with a smile. “Just try to keep things, uh… low-key?”

Arkady snorts eloquently.

Later on, RJ is on joint kitchen cleaning duty with Violet, who is chatting aimlessly about the rendezvous with Campbell.

“…it’s just going to be Sana, Krejjh and Arkady going out to meet Campbell on Halton Station,” she says. “It’s still not safe for Brian to set foot on Neuzo, and having a huge group would definitely attract unwanted attention. So, I guess we won’t get a chance to meet Campbell this time, unless he comes back to the ship.”

“Is that likely?” asks RJ.

“If things go well between Sana and Campbell, I guess,” Violet says with a small smile. “At least, that’s what Arkady thinks.”

“So, are Sana and Campbell… a couple?” RJ clarifies. Violet laughs a little, moving a dishrag in slow circles over the countertop.

“Not that I know of? My impression from Arkady is that they’ve always been close, but never actually, uh… been romantically involved,” says Violet. “Then, after Elion… well. We didn’t really know who we could trust, and… Campbell was one of the only people who knew about our destination and had our new IDs. Or at least, so we thought.”

“Mmm,” RJ responds, which seems safer than ‘Sorry for being part of the evil government eavesdropping operation that made you paranoid and destroyed your friendships’.

“But now it seems they’re patching things up, so maybe…” Violet smiles brightly. “It would be great if they could make it work.”

“That’s true,” says RJ with as much enthusiasm as they can muster. Romance has never held much of an appeal for RJ – it’s nice for other people, but RJ realised some years ago that they just don’t feel the thing that people have devoted endless poems and novels and movies to, and trying to get invested in other people’s romances feels similarly awkward. But RJ likes Sana, and she deserves to be happy.

Violet, who is sensitive to that sort of thing, seems to pick up on RJ’s train of thought. “Sorry, I realise we might seem a bit… romance-obsessed on this ship sometimes,” she says with an embarrassed smile. “If it gets to be too much… feel free to tell us to knock it off any time, really.”

RJ thinks about working under the IGR, and the way that no-one ever felt safe being themselves. They’ve already started to take this new freedom for granted – but that doesn’t mean they’ve forgotten the way things used to be.

“It’s fine,” they say.

---

This time, it’s not unsettling dreams or racing thoughts that are keeping RJ awake. It’s just energy. It’s midnight, but they feel as tense and jittery as though they’ve just downed four mugs of that overbrewed sludge the IGR used to serve employees in the breakroom.

A lot happened during the day. A huge amount of planning went into the rendezvous with Campbell on Halton Station, and even though RJ wasn’t part of the group who went out to meet him, they were involved in every other part of the endeavour.

Halton Station might be in the Neutral Zone, but they’d already established that the IGR was willing to cross huge lines and even violate the Treaty in order to get what it wanted, and the crew of the Iris is wanted on every IGR planet. It’s impossible to be too careful. Park and RJ had advised Sana to the best of their knowledge on steps that the IGR might take to try and survey the area, on the resources that they might try to use.

Meanwhile, Brian and Krejjh – both over the moon at being back on Neuzo, where they first met – had taken it in turns to tell stories about Ryedell Station, where Brian once worked as a bartender alongside his friend Alvy Connors.

Inside the Republic, the Neutral Zone was referenced only sparingly, and always characterised as a den of vice and iniquity. RJ had hardly ever thought about it except to be glad that they’ve never had the misfortune to set foot on any of its stations. But hearing stories about a place where humans and Dwarnians co-existed alongside each other, talking, trading, bartering… It’s made RJ realise just how narrow their world was until recently. And it’s sobering.

Sure, they’ve been watching Dwarnian soap operas, which deal with a completely alien (literally) species and set of cultures – but those are overblown and feel removed from RJ’s day-to-day reality. This doesn't.

So, RJ processes by pottering around the kitchen, making a late-night cup of tea. The light in the kitchen is kind of busted and it only emits a very dim glow – Sana has been swearing that she’ll tackle it once they’ve got the supplies from Campbell, but RJ finds it soothing, particularly at this hour.

It does make them jump, however, when the door suddenly slides open to admit a tall, dark shape.

“Apologies,” says the man, in a rough voice accented with a slight drawl. “I didn’t mean to startle you.”

“Ignatius Campbell,” says RJ in realisation. His voice, though RJ has only ever heard it over comms (and recorded comms at that), is pretty distinctive. Also, process of elimination dictates that there’s only one person this could be.

“The very same,” says Campbell, inclining his head forward. The door slides shut behind him. “And you must be RJ McCabe? I’ve heard a lot about you.”

RJ would like to say something witty like ‘The one and only’, but doesn’t really think they could pull it off. Instead, after a few dumb moments of deliberation, they manage, “You can call me RJ.”

Okay, so maybe they’re more tired than they realised.

Campbell raises his eyebrows a little. “Well, then, you can call me Ignatius.”

RJ doesn’t think so. Even Sana still calls him ‘Campbell’ – well, at least as far as RJ knows. Does his presence on the ship mean that the rendezvous has “gone well” like Violet and Arkady hoped?

The water comes to a boil, and RJ busies themself with pouring it out. “Would you, uh, like some tea?” they ask, mostly out of politeness – Campbell doesn’t really look like the tea type.

“Actually, I was planning on drinking something a bit stronger, if you don’t mind of course,” Campbell says, pulling out a battered metal flask from the pocket of his heavy brown coat. “It’s not moonshine,” he adds, at RJ’s slightly sceptical expression. “Just whiskey. You’re welcome to some, if you want.”

The opening notes of ‘Whiskey in the Jar’ immediately start up in RJ’s head, and they inwardly curse Violet, who has a habit of humming it when she’s nervous. And when she’s happy. And when she’s been spending time with Arkady.

“I’ll pass, but thanks,” says RJ, taking their tea and sitting down with it at the table. Campbell manages to locate a mug and pours his whiskey into it, but stays standing, drinking it slowly and staring into the middle distance. It puts RJ a little on edge, but they force themself to relax and remember that Campbell isn’t a threat.

It’s harder to resist the impulse to run through the collective intelligence that the Intergalactic Republic had on the man known as Ignatius Campbell. Known contact and long-time associate of the crew of the Rumor; expert forger; suspected aliases include Alexander Cole and Jonathan Johnson. Based in Telemachus, but with an extensive network of affiliates and possible connections across multiple galaxies.

As if picking up on their thoughts, Campbell suddenly asks, “You used to work for the IGR, right?”

RJ tenses. “Emphasis on ‘used to’,” they reply.

Campbell waves a hand. “Don’t worry, this isn’t me trying to accuse you of anything. God knows everyone on this ship has stuff in their past they’d rather not go back to – me included,” he says, a little darkly. “No, I was just wondering what kind of intel they might have on me up there. Any good rumours?”

“Most of it was inconclusive,” RJ tells him, but thinks back anyway. It already feels unnatural trying to access the headspace and knowledge that they had while working for the IGR, after going to such pains to put it behind them. “W- They suspected you might have links to the notorious pirate Kim Hoff and her Bald-Cat gang, potentially as a supplier of intel or documentation, but nothing was proven.”

Campbell gives a low chuckle of amusement. “Believe it or not, I’m not the one on this ship with links to Hoff,” he says. “Though I can’t say we’ve never crossed paths.”

In response to RJ’s look of confusion, he elaborates: “She was Brian Jeeter’s thesis advisor.”

“You’re kidding,” says RJ in disbelief.

Campbell lays a hand on his heart. “I swear – you can ask him about it. For all that he might seem mild-mannered and harmless, Brian Jeeter has some interesting connections.”

“I’ve heard about his run-ins with the Dwarnian mafia,” says RJ, partly to show that they aren’t completely uninformed.

“Yeah, that’s another good example,” says Campbell. “There’s a reason why I’ve kept doing business with the Rumor crew all these years: they have some damn good stories to tell.”

RJ snorts in acknowledgement. If it weren’t for the fact that they’ve listened to some of the Rumor crew’s insane exploits (and been present for one or two of them) they wouldn’t have believed half of the stories that they’ve heard since they came aboard the Iris.

Neither of them says anything for a while, and RJ contemplates taking their tea back to their room so that they can carry on thinking. But the prospect is dull and a little claustrophobic, and part of them wants to take this opportunity to find out more about this person who is obviously so important to their crewmates.

“So…” says RJ, and Campbell’s gaze flicks over to them from where he’d been contemplating the cupboards. “What’s got you up so late, drinking whiskey in the kitchen with a total stranger?”

One corner of Campbell’s mouth quirks up. “You’re not a total stranger,” he points out. RJ just raises an eyebrow, and Campbell relents.

“Not sure, really – Sana and I were talking, but then she wanted to crash, and I wasn’t quite ready to sleep yet. Got a bit too much going round in my head.”

RJ nods; in other words, a very similar reason to their own. “So I take it you’re staying the night?”

This immediately makes Campbell flustered, and RJ can’t make out his face very well but they imagine that he’s probably gone red. “I – I mean I am, but I promise that there’s nothing improper- It’s just for the one night. And we’re bunking in separate rooms,” he says in a rush.

RJ snorts and manages to keep from rolling their eyes – just about. “Calm down. I wasn’t trying to imply anything,” they tell Campbell. “I only asked because I’m on breakfast duty tomorrow morning, so I wanted to know how many people I’d be cooking for.”

“Oh.”

“Also, ‘improper’? What millennium is this, again?”

Campbell coughs, and says with the air of someone trying to pull the conversation back on track, “So – what about you? What has you up in the kitchen past midnight?”

RJ sips their tea, stalling for time as they try to decide how much to say about what has been keeping them awake. They settle on,

“I guess I’m… learning a lot about the universe that I never had the chance to before. Working for the… for the IGR, you’re told that only you have access to the real facts about everything – Dwarnians, the war, the upper limits of science and space exploration – and that anyone who tells you differently is lying or trying to confuse you. I prided myself,” they stress, bitterly, “on the thoroughness of my research. On having all the information. Now I realise just how little I really knew.”

Campbell nods, slowly. “All repressive governments control their people’s access to information,” he says. “The better to make sure that no-one gets any ideas of their own.”

“Yeah, I know,” says RJ, a little wearily. “I’m not under any illusions about what the IGR really is. Not anymore.”

“But you were,” Campbell points out. “Sure, maybe there were things you could’ve questioned and didn’t. There are also folks up at the top of the whole operation who have access to all the information and make a very different choice with it. At the end of the day, you still thought for yourself when it counted. You got out.”

RJ eyes Campbell warily. “I’m not fishing for reassurance here,” they tell him. “You don’t have to make me feel better.”

Campbell holds up his hands in apology. “I know,” he says. “It just sounded to me like maybe you were being a little harsh on yourself.”

RJ shakes their head and searches for the right words. “When I joined up with the Rumor crew on New Jupiter, it wasn’t some heroic stand,” they say eventually, quietly. “It was a strategic decision I made to survive. If I’d stayed where I was, I would have been killed on sight.”

“The crew of this ship knows a thing or two about survival,” Campbell tells them. “They’re not all on some grand moral crusade.”

RJ knows that Arkady worked as a guard for the IGR, that Violet used to be a government scientist, that Krejjh fought in the war on the Dwarnian side. But on nights like these, the gap between their experiences still feels vast.

The others, they all have this bond, a camaraderie forged from venturing out into the deepest parts of space, from facing near-death experiences and defying the Regime side by side. RJ might have tagged along at the end, but they don’t have that history. They haven’t earned that bond, yet.

RJ realises that Campbell is still watching them – considering, almost. Their first instinct is to break eye contact and look away, but instead they meet his gaze, raising their chin slightly. RJ thinks they see Campbell’s mouth twitch into a small smile.

“You know that I served in the military,” he says suddenly. It isn’t a question.

“Yes,” RJ replies cautiously.

“Do you want to know why I left?”

“Uh…”

RJ is well aware that Campbell fought in the war. They vividly recall the argument with Sana where Campbell angrily spoke about losing ninety percent of his first unit. RJ remembers listening to that exchange in their cramped office with Park, and looking over at him, wanting to ask for more information. But Park’s brow had been furrowed, his expression dark as he stared down at the wood of the desk, and the question died on RJ’s lips.

Park had fought in the war, too.

RJ doesn’t feel like they have a right to Campbell’s story any more than Park’s, but apparently, he's offering. “If you’re… okay with telling me,” they say uncertainly, pressing their mug between their palms until it’s a little painful. “I’m… sure it was nothing good.”

Campbell gives a short nod, his expression grim.

“I enlisted in the military in 2178, two years before the coup,” he says. “My first unit, they were… a really good group of people. Some of the best I’ve known. When the coup took place in 2180, we were excited. The old government had left the military drastically under-funded and over-stretched. The Regime promised better funding, better resources, more troops – of course, they accomplished that via the Mandate, but they made that seem like a great thing. A stable career path; an opportunity for everyone who was able to “serve the human race”. As they put it.”

RJ nods slowly. “I know. They’re pretty big on teaching that as part of the history of the Republic,” they say. “‘How the Intergalactic Republic transformed our military’.”

“Yeah, well, I experienced it first-hand. And for about a year, everything was as promised. But then my unit got word that we were being redeployed to the Dwarnian stronghold of Nreech-shlegga.”

RJ frowns. “As in… the Battle of Nreech-shlegga?”

“The very same,” Campbell confirmed. “But this was years before that battle. We were told that it was a small outpost, largely unmanned – an opportunity to score an early victory over the Dwarnians and make an incursion into their territory.”

RJ feels a sick sinking feeling, and unconsciously grips the edge of the table with one hand. “What happened?” they almost whisper, although they know the answer.

“On the basis of the briefing we were given, we stormed the stronghold,” Campbell says, and RJ suspects that he might not really have heard their question, lost in the memory. He’s not looking at them anymore, staring down at his mug, but he doesn’t drink from it. “Of course, Nreech-slegga was the exact opposite of what we'd been led to believe – it was an extremely well-defended military stronghold. My entire unit, barring myself and six others, was wiped out in less than an hour.”

Campbell is silent. RJ breathes out quietly, trying not to interrupt his thoughts by drawing attention to themself. Their throat is dry, but they’ve drunk all of their tea and daren’t move to make some more.

Several long minutes later, Campbell shakes himself a little, seeming to come back into the present. “Sorry,” he apologises gruffly, taking a swig of whiskey.

“Don’t apologise,” RJ says quickly, and then clamps their mouth shut, in case they sounded overly familiar. But Campbell nods, and they think they see his lips quirk upward slightly.

“What did you do… after?” RJ ventures, after another long moment of silence. They hate to pry, but they’re still not clear on why Campbell decided to tell them this in the first place. Maybe he’s not sure anymore either.

Campbell nods again, once, as if agreeing to something inside his head. He meets RJ’s eyes again. “Would you believe me if I told you that I defected from the military?”

“Of course,” RJ says immediately. “After what they did to your unit? Your superiors must have known the reality of the situation, but they withheld crucial intel. It cost the lives of dozens of good soldiers.”

“I notice you haven’t considered for a moment that the IGR might have had a good reason for giving those orders,” Campbell points out. He sounds amused.

“I—” RJ falters. “I mean. How could they have?”

People died needlessly, they want to say. But they know that while they were on the IGR’s payroll, they came across all kinds of evidence of similar incidents and found ways to rationalise them, to explain away the devastating loss of human life. Like the planet where the inhabitants were left to starve without aid after their food supply was consumed by ants – because of “improper paperwork” and “budgetary concerns”. Or the fate of the original Iris, in which an entire crew had been murdered in order to silence one man.

Why had it taken RJ so long to see the Regime for what it really was?

Because it’s easy to make excuses, to explain things away, when it’s not your life on the line, RJ’s brain supplies. When you’re not the one they’re coming for.

“If you see any of the Rumor crew, or Agents McCabe or Park, shoot to kill.”

Until you are.

“You’re right,” Campbell says, and RJ stares at him for a few seconds, having lost the thread of their conversation. Their head feels heavy and over-full, their mind whirling. “My superiors had perfect intel on the situation in Nreech-slegga and knew the full extent of its defences, but they lied to us because they wanted to test the Dwarnians’ response times on their own territory. We were just cannon fodder to them.”

The phrase rings a bell in RJ’s mind – they remember him using the same words to Sana in ‘Report 6: Parallel’. They nod mutely.

“But in the wake of The Nreech-Slegga Disaster, as it became known – though only among the troops, as official reports of the incident were largely suppressed – they told us that they’d been fed false intel by double agents working for the Dwarnian Federation. They even used it as an excuse to purge a few members of the rank and file who’d fallen out of favour.

“I could tell something was off about it all – if the Dwarnian counter-intelligence efforts were so effective, why tip their hand so obviously? Why waste them on eliminating a single ground unit? But at the time, I couldn’t envision a life for myself outside of the military. And I was afraid to follow that train of logic any further, for fear of where it might lead me. So I stayed enlisted – for three more years.”

“Three… years?” RJ echoes in shock. “But…”

“Why would I stay?” Campbell finishes for them. “It takes a lot of guts to choose a different path to the one you’re on, to leave behind everything you know. I didn’t have them, then.” He stares off into the middle distance, mug held loosely in one hand. “A lot of people who fought in the war didn’t really believe in the Regime’s cause. They had their own reasons, and I told myself I had mine.”

Campbell raises his mug to drink from it again, and then – evidently finding it empty – picks up his flask and drinks directly from there instead. “But I spent a hell of a lot of time regretting those three years.” His voice is a low, bitter growl, almost too low to hear.

A more profound silence descends this time, and RJ isn’t sure how to break it. Their instinctive response to hearing how Campbell lost his first unit had been to assume that he would have left the military and refused to serve under the regime that caused the deaths of his comrades – just as many people would question why RJ had stayed and continued to work for the IGR after Park was taken away.

Like Campbell said, at the time, they thought they had their reasons. It's only in hindsight that those reasons become a lot harder to justify.

It takes a lot of guts to choose a different path to the one you're on, Campbell had said. RJ can't find it in them yet to think of their decision to turn against the IGR as something that took "guts".

But no matter how adrift they've been feeling since then, they also haven't regretted it for a moment.

“Apologies,” says Campbell abruptly, and RJ looks up from toying with their mug, surprised. “I probably shouldn’t have dropped all of this on you at once. It’s just been… on my mind, what with the renewed crackdowns from the Regime, and skirmishes breaking out everywhere…”

RJ’s stomach turns over. They knew that there were protests on Telemachus, and a couple of the other large planets as well, the ones that were harder to control. But they hadn’t realised it had broken out into all-out fighting.

They realise that Campbell is still looking at them, and try to force their mind back to the subject at hand. “No, it’s fine – it actually helped. Uh, it’s nice to hear…” They trail off, not sure if it would be presumptuous to say, ‘a story similar to mine’. RJ isn’t a war veteran. It’s not the same thing at all. “That is, I uh, really appreciate you… trusting me with this.” There.

Campbell gives them a slight smile, and then ventures, “I’m not sure how well it’ll go with the aftertaste of whiskey, but… can I take you up on that tea?”

“Oh! Sure!” RJ jumps to their feet so quickly they almost upset their chair. They do their best to cover it up by holding the box of tea out to Campbell, who raises his eyebrows. “What kind would you like?”

“Uh… Why don’t you choose,” Campbell suggests.

“Oh, if you’re sure…” RJ looks down at the tea, wondering what kind would be appropriate to give a former-soldier-turned-forger after a heavy conversation about serving under an oppressive regime. They decide to go for vanilla and honey.

As RJ is busy boiling the water again, making another cup for themself at the same time, they realise that Campbell never actually told them how he came to leave the military. They wonder if it would be pushing it to ask him, or whether it would be best to leave the topic alone.

They procrastinate by pouring out the water, then finding a spoon to stir the tea with. “You can leave it in for as long as you want to – three minutes is usually a good amount of time,” they tell him, handing over the mug and the spoon.

“Thanks,” says Campbell appreciatively. “It smells good.”

“You’re welcome.” RJ goes back to pour out their second cup of jasmine green tea. Campbell gives a little chuckle to himself, and RJ looks over, curious.

“Oh, it’s just – I realised that after all that, I never finished my story,” Campbell explains. “But uh, I’m sure you’re sick of hearing-”

“Actually, I was wondering-” RJ begins, and then stops awkwardly. “Uh. That is. I’d like to hear the last part?”

“All right then,” says Campbell. His manner is a little more relaxed than before, and RJ senses that this part of the story is easier for Campbell to tell.

“I served in the military for three more years,” he says, “after the Nreech-Slegga Disaster. I rose up the ranks a little bit – but not that much. I wasn’t great at taking my superiors’ orders without question, especially when they were irrational, stupid orders. A lot of soldiers who started out below me on the pecking order quickly got promoted ahead. But that was fine – I never wanted to be in command. I knew there was all sorts of corruption in the upper ranks of the force – bribery, dirty deals, a comfortable life lived on military funds.

“But the breaking point really came when I was put into a situation that reminded me vividly of the Nreech-Slegga Disaster – a campaign where we were given almost no information about the situation on the ground, and were ordered to go in, guns blazing, and mount an attack. I refused to lead my men in blind – I demanded more information from the officers in command. And when they ordered me to go ahead with the offensive regardless… I left. I couldn’t watch it happen again.”

“Where did you go?” RJ asks.

“I disappeared,” Campbell says simply. “I had an old friend I’d never completely severed ties with who had links to the criminal underworld. Not, uh, Sana,” he adds quickly. “We met later. I went underground with a new identity, and set about methodically erasing every trace of my former life. Officially, I’m listed as Killed in Action during the offensive that I refused to participate in. I honed my skills as a forger at the same time.”

“Did you have, uh…” RJ realises partway through asking the question that it might be an uncomfortable subject – well, another uncomfortable subject. “…family? You don’t have to answer that,” they add awkwardly, but Campbell is nodding.

“My parents had passed away, but I had a brother I’m close to. I wasn’t able to make contact for several years. But now I… see him, occasionally. And his kids, my nephews.” He says the last part softly.

“That must be nice,” RJ says without thinking, and then flushes when Campbell looks at them quizzically. “Um, that is…”

At that moment, the door slides open and a voice says, “Hey, I woke up and I wasn’t sure where you’d – oh! RJ, sorry. I didn’t see you there.”

Sana stands framed in the doorway, wearing loose sleeping clothes, her hair twisted into a side braid. Because she’s Sana, rather than being embarrassed or discomfited, she immediately shifts into Concern Mode. “Is everything all right?” She looks between the two of them, obviously curious as to how they came to be talking in the kitchen.

“Hey, Sana. Everything’s fine, we were… just having tea,” RJ says.

“I think mine’s vanilla and honey,” Campbell adds, lifting his mug. Sana seems tickled by this, grinning broadly.

“All right, well I’ll leave you both to it, if you’d prefer – I didn’t mean to interrupt.”

“No, it’s okay–” RJ says, at the same time as Campbell begins, “Actually, I’d be happy to come back to–”

They both stop, and RJ presses their lips together in amusement and then stands. “I’m gonna head back to my room. It was… really nice talking to you, Mr. Campbell.”

Campbell gives an exasperated huff at being called ‘Mister’, which makes RJ smile. “Likewise,” he says.

“Goodnight, then, RJ,” says Sana, standing to one side so that RJ can get past her. “Don’t be afraid to come and knock if you still can’t sleep.”

RJ nods, though they have no intention of doing anything of the sort. “I will. Oh, and Campbell?”

“Yes?”

“Do you like eggs?”

This throws Campbell for a loop. “Do I… like eggs?”

“For breakfast tomorrow. Sana said there would be some eggs in the supplies we were getting, so I figured I’d make eggs.”

Campbell laughs a little with surprise. “Sure. I’ll eat pretty much anything.”

“Great.” RJ looks back at Campbell. “See you at breakfast.”

What they really mean is:

Thank you.

#TSCOSI #The Strange Case of Starship Iris #RJ McCabe #Ignatius Campbell #Sana Tripathi #Violet Liu #late night tea drinking and heart to hearts #war stories #I want to promise that RJ will get a break from chatting to traumatised war veterans in the next chapter but uhhhh #let's just say I can't promise that quite yet

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whitewolfofwinterfell · 6 years ago

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thank you so much for those phoebe/cole posts! just warmed my heart so much! maybe moved me to tears a bit. :) what do you think about dexter/brian? and grindeldore! and anything you want with charlie from lost? and boone/locke? thank you! you're so sweet.

Aw, you’re welcome. And thank you so much

As always I’m placing my response under the cut, because it got long (at this point I think we’ve established it’s impossible for me to ever give short responses haha).

Dexter and Brian

I’m assuming this means platonically? I know that some fans shipped them as a crackship, but I was never one of those people. I love dark ships and I’m not averse to incestuous ships either, but it’s too far even for me lmao. I don’t have that much of an opinion on these two. I find their connection interesting, but because it was only really in the first season (and a little bit in season 5 when he hallucinated him) I don’t have strong opinions on it. I think Brian is the literal representation of the darkest version of Dexter or his “Dark Passenger”. Because the thing is with Dexter, despite him being a serial killer and all his repeated spiel about being evil and not having any feelings or compassion, we see that that’s clearly not the case. His humanity grows more and more throughout the seasons, but even in season 1 he still has the ability to show kindness. He cares about Deb, Rita, Astor and Cody. He has strong feelings about children and fights to protect them no matter what, and whatever way you try to spin it, that’s not the way a psychotic cold-blooded killer behaves or thinks. Brian, on the other hand, really is a psychotic cold-blooded killer. He doesn’t care about anyone or anything, not even Dexter. His attachment to Dexter is much more about the thrill of having someone to share his sadism with and to have a partner in crime (literally), who he can learn from and teach so they can both become more ruthless and skilled killers. When Dexter kills Brian at the end of season 1, it’s about more than simply him choosing Deb over Brian, it’s about him sacrificing that darkest part of himself, it’s about him choosing love and selflessness over his Dark Passenger. Brian being the embodiment of Dexter’s Dark Passenger is all but confirmed in ‘Nebraska’ (6x07) where Brian appears to Dexter and consistently encourages him to give into his darkest urges and to let go of the good parts of himself. My perception of it is that Brian is a contrast to Debra - he represents the bad in Dexter and Deb represents the good. Whilst Brian pushes Dexter to embrace the bad in him, Debra encourages the good in him. This all goes back to the scene in season 1 where Dexter has to choose between Brian and Debra, and like I said, the choice he makes shows not only that he loves Deb more but that what she represents - the good - is more important to him.

Grindeldore

Sorry but I don’t really have an opinion on them. I don’t know much about them as a ship apart from the snippets I’ve seen from JKR over the years. I’ve stayed clear of Fantastic Beasts and anything HP related (except HP itself) since HP ended. The reason for that is because I feel that had HP had a well rounded and complete ending and anything else that follows is just a money grab and does nothing to add to the universe or characters.

Charlie Pace

This is an interesting one for me to discuss, because I recently completed a re-watch of LOST. If you’ve seen my post where I share my thoughts on my recent rewatch (you can read it here), you’ll know that my opinion on Charlie has completely changed. When I was younger I loved Charlie, I thought he was witty and funny, and I enjoyed watching his friendships with Hurley and Desmond. But my most recent re-watch definitely opened my eyes to the uglier side of Charlie.

The thing is with Charlie is that because he’s used as a comedic character that generally overshadows the shitty aspects of his personality and characterisation. His addition is not the problem here. Obviously, his addiction causes a lot of his problematic behaviours, but that in itself is not an issue I have with his character. Heroin is a highly addictive drug (I believe the most addictive one in existence) which he gets hooked on it due to pressure from his brother. He tries to kick the habit to better himself and he succeeds. This and his death, which is a very selfless act that he does for the benefit of Claire, Aaron and everybody else on the island, are the two main aspects of his character I can praise. Everything else about him…not so much. Before I get deeper into this, I wanted to make it clear that I don’t think Charlie is a bad person, but I do think he’s a very flawed character and he does a lot of things that have led to me disliking him.

All Charlie does is whine and paint himself the victim. He never takes any responsibility for anything he does or anything that happens to him or around him, it’s always someone else’s fault. He blames Liam for his drug addiction; he blames Liam for the break-down of Drive Shaft; he blames Jack for Ethan kidnapping him; he blames Locke for his deteriorating relationship with Claire; he blames Eko for outing his heroin stash to Claire and he blames Sayid for Aaron’s kidnapping (by Danielle). There are probably more that I’m forgetting, but you get the point.

The way Charlie acts towards Claire is a large part of the problem that I have with his character. He meets Claire, develops some kind of hardcore obsession with her and immediately starts acting like her partner and the father of her child despite Claire not giving any indication that she is comfortable with that or even wants Charlie to fulfil those roles. In fact, in season 1, she explicitly tells him that she doesn’t need him to constantly look out for her and that her pregnancy doesn’t mean she’s weak or fragile and needs protecting. Repeatedly, Charlie over-steps the mark with Claire, particularly when it comes to Aaron. He quite literally berates Claire numerous times for the decisions she makes regarding the well-being of her own child. When she wakes him up because she hears commotion on the beach, Charlie scolds her for it, takes Aaron out of her arms and says something along the lines of, “He’s going to be fussing all night now, give him here”, as though he knows Claire’s child better than she does. It’s one of the most infuriating scenes to watch ever. For some bizarre reason Charlie seems to think he has some claim over Aaron and assumes responsibility for him despite him literally being a stranger to Claire with no rights to Aaron at all, and I will never understand how anyone can view that as acceptable.

As well as the poor way Charlie treats Claire, he’s generally a selfish and egotistical character. All LOST characters are flawed and multi-dimensional, that’s what makes them so fantastic, but Charlie is definitely one of the more flawed characters. His addiction results in him being a pathological liar and very selfish. In addition, because of his failures he has this desperate need to be somebody else, to be this perfect man who is the embodiment of success, strength and responsibility. This is why he fixates on Claire because he sees a beautiful young woman who has been abandoned and alone and he wants to be the one to fix that. He wants to be the patriarch; the father and the husband; the defender of the family because he’s never had that before and when he meets Claire he sees a ready-made family. We know that he desires this from the flashback with Lucy whereby he takes a job and continues in his relationship with her because he wants to be “respectable” and “take care” of her. There’s nothing wrong with wanting this, but he goes about getting it in the wrong way and acts very inappropriately towards Claire.

I feel like this all sounds really harsh, but generally, my opinions on Charlie are very negative since my recent re-watch. Even the funnier aspect of his personality was a complete miss with me (perhaps it’s simply because I’m older now). But like I’ve said, I don’t think he’s fundamentally a bad person, he’s just very, very flawed. The problem with the way he’s written though is that his flaws are never really called out. When you compare him to someone like Sawyer, who also starts out in season 1 as a flawed character, he is constantly punished and called out for that and actively makes an effort to repent and redeem himself, resulting in a beautiful redemptive arc. Unfortunately, I just don’t think Charlie gets the same, because he’s not fully acknowledged within the narrative as being a flawed character that needs to develop. The only aspect of his arc that is acknowledged as a “flaw” (I feel like this isn’t the right word in this context, but I can’t think of a more appropriate one) is his addiction and because he overcomes this by going into recovery, there seems to be this assumption that he does develop, but even when he’s in recovery his behaviour is still shitty. So yeah, that pretty much sums my thoughts up on Charlie. Also I apologise if you’re like a Charlie stan, because this was essentially just a rant about how much I’ve come to dislike him lmao.

Boone and Locke

Now, this is a complicated dynamic to analyse. I like how their bond is developed at the start and I like watching them on-screen together before they find the Hatch. Unfortunately, after that I hate the whole “friendship” (if you can even call it that). Locke uses and manipulates Boone consistently, causes his death and still continues to lie even when Boone is seriously injured. The only reason Locke maintains a “friendship” with Boone is because he just so happens to be with him when he discovers the Hatch. The only way he can stop anyone else from finding out is by recruiting Boone and giving him this spiel about destiny and how they were meant to find the hatch and open it together as part of some grand plan. Locke is so adamant that he doesn’t want anyone else to find out about the Hatch that when Boone tells Locke he wants to tell Shannon, Locke knocks him out, ties him up in the middle of the jungle and drugs him. So not only does he get violent with him, abandon him in the middle of the jungle whilst injured but he also gives him drugs without his consent which results in him having traumatic hallucinations where he sees Shannon die. Locke tries to spin it as being something he’s doing for Boone’s benefit, but it’s not, it’s all about him protecting his secret. He doesn’t care about Boone or how his feelings for Shannon are impacting him, all he cares about is stopping Boone from telling Shannon about the Hatch. In forcing Boone to keep quiet about it, he creates a distance and tension between Boone and Shannon, who is the most important person in his life. Honestly Locke is 100% selfish and delusional in the way he behaves throughout this entire arc. He prioritises unlocking some mysterious hatch in the mysterious jungle over everything else including Boone’s well-being. He coerces Boone into climbing to the top of a massive cliff and getting into a plane which is hanging over the edge of said cliff. Anyone with half a brain cell could see that that plane was unsafe and likely to fall if anybody went inside, but Locke still pushes him to do it. When the plane inevitably falls, he drops him off to Jack in the caves, doesn’t bother to tell him how he got his injuries and runs off into the jungle. Now we all know that even if Locke had told Jack the truth about how Boone had got his injuries, Jack still wouldn’t have been able to save him, but nonetheless, he should’ve come clean before Boone died. What’s even worse about the whole situation is that whilst Boone is dying and Jack, Sun and the others are busting their asses to save his life, Locke is hammering on the Hatch yelling, “WHY DID YOU DO THIS TO ME?!?!?!!!” I’m sorry………………what?????? Locke, I’m pretty sure you’re not the victim in this scenario. Like the fact that he thinks that he’s being punished for what happens to Boone is proof of how much of a shitty person he is in that scenario and how little regard he has for Boone’s life. And afterwards he continues to claim that Boone died because he was a “sacrifice the island demanded”. No, dude, Boone died because of your selfishness and your delusions. I mean, even if there was something spectacularly special in the Hatch or in the plane, how could it ever be worth risking Boone’s life in that manner? And I know that Boone was an adult and made his own decision to climb into the plane knowing the risks involved, but Locke manipulated and coerced him every step of the way. And it’s important to remember that despite being an adult Boone was still very young and Locke as a much older man had a lot of influence over him. Once again, age has changed my whole perception on this relationship and arc. When I was younger I actually thought Jack totally overreacted following Boone’s death but now I stand right beside Jack every step of the way because he’s absolutely right to react the way he does. Locke is an asshole for the way he behaves and his actions lead to the death of an innocent young man for no real purpose at all.

#answered #anonymous #my meta #dexter meta #lost meta

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oosteven-universe · 3 years ago

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Hellcop #2

Hellcop #2 Anomaly Productions/Shadowline/Image Comics 2021 Written & Illustrated by Brian Haberlin Coloured by Geirrod Van Dyke Lettered by Francis Takenaga “COME HELL OR HIGH WATER” Virgil has been framed for the murder of his partner. With the help of Taj, he escapes custody and heads to Hell in a desperate attempt to find his partner’s life force and clear his name. I love the opening here because what it does is remind us of history and what could have happened, so an alternate history if you will, and what did happen because of the hubris of man. Not that that’s what this story is about though. I love the Virgil is being set up for the murder of his partner and that his own department isn’t budging or showing support that they think he’s innocent which just shows me how deep the plot goes. There’s something happening here, what it is ain’t exactly clear, but there’s a man with a gun over there telling him he’s got to beware. At least he has Taj in his corner and hopefully between the two of them they’ll be able to figure this all out. Being on the run and traversing this Hell dimension is already proving to be one heck of a ride and I reckon we’ll see a slew of interesting twists & turns along the way if this issue is any indication. I am thrilled with the way that this is being told. The story & plot development that we see through how the sequence of events unfold as well as how the reader learns information are presented exceptionally well. The character development that we see through the narration, the dialogue, the character interaction as well as how we see them act and react to the situations and circumstances which they encounter does a magnificent job in continuing to flesh out their personalities. The pacing is amazing and as it takes us through the pages revealing more of the story the more invested, intrigued and engaged we become. I’m pretty impressed with the way that this is being structured and how we see the layers within the story continue to emerge, grow and strengthen. I am also liking the way that the layers open up new avenues to be explored because this adds all kinds of depth, dimension and complexity to the story. How we see everything working together to create the story’s ebb & flow as well as how it moves the story forward are impeccably handled. I cannot get over just how good these interiors are! I mean the level and quality of work we see through this computer generated work is outstanding! The creativity and imagination that we see in the various demons, species or whatnot that are in that other dimension really stand out and make for some fabulous characters. The linework is exceptional and how we see the varying weights and techniques being utilised to create the detail within the work is mind numbing. Between the use of backgrounds and the composition within the panels enhance and expand the moments while also bringing out the depth perception, sense of scale and the overall sense of size and scope to the story in such wondrous ways. The utilisation of the page layouts and how we see the angles and perspective in the panels shows a brilliant eye for storytelling. The various hues and tones within the colours being utilised to create the shading, highlights and shadow work show this sensational eye for how colour works. A kind of futuristic science fiction whodunnit of epic proportions is unfolding before our very eyes and it’s all sorts of glorious to behold. The depth and complexity that we see in the writing and characterisation to go alongside these completely bloody brilliant interiors bringing it all to life make it time to buckle and and prepare for a bumpy ride.

#Comic Books #Comics Reviews #Anomaly Productions #Image Comics

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back-and-totheleft · 4 years ago

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Stone, cold sober

Re-telling the story of September 11 with a measured hand and lightness of touch hithertoo unhinted at, director Oliver Stone proves a more serious thinker than his paranoia-soaked canon would suggest. Here, he explains how his experiences as a soldier in Vietnam framed his outlook on life and art.

The introductory handshake comes with an additional squeeze of the wrist and a roguish smile.

“You’re Irish. I can tell.”

No. Your correspondent hasn’t been transported back to a disco in the 1970s. Instead, she’s in New York’s Regency Hotel meeting Oliver Stone. That twinkling opening gambit has brought about a Proustian rush of wayward tabloid headlines. I remember that idiotic book on the making of Natural Born Killers, with its scurrilous tales of loose ladies, psilocybin mushrooms and cocaine abuse. I recall that story about the director commandeering the Warners corporate jet to do peyote in the Mexican desert while making The Doors. I remember too how the set of Alexander reputedly became an extravagant saturnalia. Sure enough, I can effortlessly picture this man partying down with Colin Farrell, a duel study in swaggering Dionysian charm.

Though Stone insists his appetite for debauchery has been greatly exaggerated, he’s always owned up to unruly habits. Yes, he does have a fondness for marijuana dating back to time spent on the frontline in Vietnam. He has also ‘expanded his consciousness’ with the occasional psychedelic. But driving offences from last year and 1999 have, he claims, more to do with pre-diabetic medication unwisely knocked back with alcohol than exotic marching powders.

Still, it’s an impressively scandalous record for a man of his years. Stone is 60 now, though you’d say he were a decade younger if you suddenly spied him on the street. In person he’s imperturbably casual, far more relaxed than the ‘madman’ headlines might lead one to suppose. His glowing tan is offset by a bright yellow polo shirt and he sits way, way back in his chair holding your gaze all the while.

Accommodating and easy in his manner, you’d be hard-pressed to identify this individual as Oliver Stone – Controversial Filmmaker. That is, nevertheless, to whom we speak. Stone boasts a fearsomely uncompromising reputation as a screenwriter and director. Throughout the ‘80s when the post-classical frisson of counter-cultural Hollywood had fizzled and poachers died off or turned gamekeeper, only Stone kept the faith, authoring politically conscious cinema at a time when the Academy was honouring Driving Miss Daisy.

His screenplay for rapper’s favourite Scarface set the frenzied pace and ultra-violent tone that would later characterise his visual style. But Stone was too engaged with the world to become the new Brian De Palma. Salvador, his first major film as director, probed the gulf between the ideals of American foreign policy and realpolitik. Platoon, Wall Street, JFK and Nixon would further confirm his interest in micro and macro conspiracies and establish him as an outlaw auteur.

Though he’s now rueful about being stereotyped or “pinned like a butterfly”, he was a good sport about it, appearing as a conspiracy nut in Dave and Wild Palms.

“You know, I’ve never really regarded myself as a political filmmaker”, he tells me. “I consider myself a dramatist. I always get involved with people more than the politics. With the movie JFK, for example, the book by Jim Garrison had a lot of theory. I was more interested in making him part of that story. And Oswald fascinated me. If you watch that film it is really a trail of people played by great actors. Nixon, despite the whiff of conspiracy, is truly a psychological portrait of a man. Many people in the right wing thought it would be a hatchet job but I really made him apathetic. I refuse to be pigeon holed. I am not a political guy. I don’t go to rallies. I am not an activist. I don’t have the time because I’m busy being a writer.”

He may deny the role of agitator, but his opinions, both off and onscreen suggest otherwise. His most recent work in the documentary sector includes Persona Non Grata, an examination of the Israeli-Palestinian conflict, and two features about Cuban president Fidel Castro, Comandante and Looking for Fidel. (Stone has described himself as a friend and an admirer.)

He has, before now, referred to the events of September 11th as a ‘revolt’ and expressed an interest in the work of Richard Clarke, the former White House counter-terrorism advisor whose book Against All Enemies accuses the Bush administration of ignoring the al-Qaeda threat, then linking the group to Iraq, contrary to all evidence.

“We Vietnam vets, in particular, found it very difficult”, says Stone. “We had the backing of the world in Afghanistan. We were rounding up the main suspects. Then we go into Iraq with no support. Militarily, it was stupid. It was overreaching. And any American who travels can tell you how the rest of the world is resentful. What the hell are we doing in Iraq when the enemy was 4000 al-Qaeda fighters in Afghanistan?”

When it was announced last summer that Stone would direct World Trade Centre, a film focusing on ‘first response’ police officers trapped by the Twin Towers collapse, many eyebrows were raised. “To allow this poisoned and deranged mind… (to recreate 9/11) in the likeness of his vile fantasies is beyond obscene,” raged one conservative commentator. But World Trade Center, it transpires, is Stone’s least obvious work even by his own consistently innovative standards. The towers do not fall back and to the left. There is no grand plot or secret ruling elite. “This is not a political film in any sense”, insists Stone. “It harks back to Platoon in that respect. In Vietnam, we didn’t sit around talking about LBJ. And the truth is, I don’t think we can say for sure what happened during 9/11. We spent more investigating Bill Clinton’s blowjobs than the destruction of the World Trade Centre. Whatever was going on in the background, if you look at the forest through the trees, it seems to me that what has happened since is far worse than what happened that day. So the politics and conspiracies behind that day, whatever they may be, are not as relevant as where we are now.” Completely eschewing polemic, the movie instead offers a heartfelt portrait of ordinary fellows on the front line. Stone’s traditional constituency are, needless to say, horrified, and assorted doublespeak statements have been issued attacking World Trade Center as “non-conspiratorial lies.”

John Conner, a leading voice in the Christian branch of the 9/11 Truth Movement, went so far as to ask the following– “Was Stone used by the Illuminati as an unknowing pawn to whitewash the 9/11 conspiracy theories to the masses? Was he approached with the project and coerced into a commitment to occupy his time in attempts to thwart any other 9/11 angle from being used? Is Stone a pawn in the game? Perhaps Stone didn’t know at the time, and found out too late.”

Oddly, however, like Paul Greengrass’ United 93, Stone’s film has found champions from either end of America’s bipolar political spectrum, often the same folks who had previously dismissed him as a pinko malcontent. L. Brent Bozell III, the president of the conservative Media Research Center and founder of the Parents Television Council — a latter day Mary Whitehouse in trousers — called it “a masterpiece” and sent an e-mail message to 400,000 people saying, “Go see this film.” Cal Thomas, the right-wing syndicated columnist and contributor to The Last Word, wrote that it was “one of the greatest pro-American, pro-family, pro-faith, pro-male, flag-waving, God Bless America films you will ever see.”

“I just felt this was a great story dying to be told,” explains Stone. “It may not be like anything I have done before, but Heaven And Earth wasn’t like anything I had done before. Nor was U Turn or Natural Born Killers. I do jump around and each film is a different style. This isn’t like United 93 which was a brilliant piece of vérité. This is more like a classic John Ford, William Wyler or even Frank Capra film. Against tremendous odds this rescue takes place. This has the traditional Hollywood tropes of emotional connection to four main characters from the working class.

"I would love to bring Hollywood back to that, making films where people actually work for a living, not sit around making things happen with a remote control like that Adam Sandler film. Born On The Fourth Of July was blue-collar. So was Any Given Sunday. Although it’s about elite athletes, it was about work. They had to punish their bodies for their lifestyle.”

A marriage of disaster movie and combat zone drama, World Trade Centre follows Port Authority officers Sergeant John Mc Loughlin (Nicolas Cage) and Will Jimeno (Michael Pena) on a doomed rescue mission into the Twin Towers. On September 12th, they were among the last survivors to be pulled from the rubble. Though the original script by newcomer Andrea Berloff read like a relocation of Beckett’s Endgame, Stone has widened the remit to include the rescuers and the anxious wives at home. As a director noted for working within a decidedly masculine milieu, was it a challenge to represent domesticity, I wonder.

“Oh yes,” he admits. “That was a big challenge. On the surface this is a very simple story of catastrophe and rescue and heroism. But if you go beyond the cliché it is very fresh. Everything the rescuers did was dangerous. We assume rescues just happen, but it is hard work. These men really crawled into places where they thought they would die. It took hours to get them out. I tried to show some of that digging. But an even bigger cliché in these circumstances is the waiting housewife. Actually, it goes further than that. Each of these women died that day. They sit there as the hours pass and the only news is no survivors. You knew no one would come out of there. The buildings were so pancaked. So it was like death for them. I wanted to portray that. I wanted them smelling the sheets from the previous night where they had slept. Again it’s a cliché but the idea was to take the cliché and make it fresh.”

Another subplot concentrates on Staff Sergeant Dave Karnes (Michael Shannon) a Christian marine in Wilton, Connecticut, who watches events on TV and tells his colleagues that America is now at war. Once he decides that God wants him to go to New York he heads to Ground Zero with a flashlight and eventually hears the two cops in the debris. A postscript before the final credits informs us that Kearns has since served two tours of duty in Iraq.

“It’s a remarkable and weird story,” Stone admits. “But that’s how it happened. I also think Kearns represents a significant sector of the American population when he says, ‘We’re going to need some good men to avenge this’. For many people, revenge was their first thought.”

And there you have it. For all the pigeonholing as a conspiracy theorist, facts are of paramount importance to Stone. He spent two-and-a-half years researching JFK. He spent three years immersed in Persian history for the much-maligned Alexander. It was a labour of love and the ill-tempered critical reception seems to have cut to the quick.

“I’m a historical dramatist,” he explains. “I wasn’t a Kennedy assassination junkie at the time, nor was I a 9/11 junkie. But I love the past. It hurts when I read someone claiming that I’ve fabricated something. But then you make a film like Alexander and scholars say you have it right, but critics say it’s all wrong.”

Similarly, while Stone has been at pains to represent those involved in the World Trade Centre disaster as faithfully as possible, he has not been able to quell dissent completely. The widow of Dominick Pezzulo – a cop portrayed in the film - has accused Jimeno and McLoughlin of cashing in on the tragedy by selling their story to Paramount. There have also been mutterings about the film being too soon.

“I know,” nods Stone. “But I honestly think it is the right time. The Killing Fields was made five years after those events in Cambodia. During World War II, Hollywood made propaganda films. Casablanca, made in 1941, takes a very anti Nazi position even before we declared war. The Vietnam movies took longer to make, but life goes faster now. I would say to you the consequences of 9/11 are so bad that we better look back now and understand what happened on that day. When you leave it too long, events become mythologized. Watching Pearl Harbor, you’d think we won that battle. This is the epicentre of 9/11, but there are many stories that still need to be told.”

Though personal and more modest in scope than the $63 million budget might suggest, the director does hope that his intense focus on McLoughlin and Jimeno has a wider relevance.

“They did not have a clue as to what was happening,” he says. “They knew it was a terrorist attack but there was no discussion of politics. They’re cops. They are far more likely to talk about pop culture, whether it is Starsky And Hutch or GI Jane. It wasn’t Bergman down in that hole.

So I am not claiming this movie will answer all the questions. But let’s say you go to a psychiatrist and all your life you have been repressed because you were raped when you where 14. Perhaps the psychiatrist says, ‘Let’s go back to that day’. They make you remember that day and it changes all the defences you had built up. So perhaps by undoing the screw, the secret at the beginning, you can take some of the armour off.”

The events of 9/11 may be difficult to disentangle, but no more so than the filmmaker himself. Born in New York City to a Jewish father and Catholic mother, William Oliver Stone was raised Episcopalian by way of compromise. His parents divorced after his father, a conservative Republican, conducted various extra-marital affairs with family friends. Young Oliver spent much of his subsequent childhood in splendid isolation between private schools and five star hotels - ‘a cartoonish Little Lord Fauntleroy’ by his own account.

Still, Stone needs neither bullfighting nor marlin fishing to confirm his Hemingwayesque credentials as an artist. He attended Yale and dropped out twice before enlisting to fight as an Infantryman in Vietnam. Mixing with the lower orders and smoking pot soon transformed the spoiled youngster into a military hero. He was wounded twice in action and received the Bronze Star with ”V” device signifying valor for “extraordinary acts of courage under fire,” and the Purple Heart with one Oak Leaf Cluster.

Soon after the war, he was arrested at the US-Mexico border for possession of marijuana. His father bailed him out but the experience served to radicalise him. Later, meeting understandably embittered veterans such as Ron Kovic pushed Stone further to the left.

He has, however, wooed Hollywood despite the often overtly political nature of his films. He won his first Academy Award as the screenwriter of Midnight Express and has been further honoured for directing Platoon and Born On The Fourth Of July.

Now, after World Trade Centre, has attention and lavish praise from the likes of Bill O’Reilly turned his head? Not bloody likely.

“People are people,” he tells me. “I think people have to take care of themselves and their families first. But there are bigger questions now. The ecological movement want us to clean up, but how can that work when there is always the issue of jobs? It’s a very selfish world and avarice triumphs over the green imperative. After Katrina, there was a tremendous outpouring of help. That was also true when the tsunami hit Indonesia. People are very generous in America and there are some very fine Americans. Unfortunately, a lot of them don’t have passports. Most of them don’t know where Iraq is. And a lot think al Qaeda and Iraq are the same thing. There’s a problem with the education levels. American television keeps people trapped. The news is very superficial and mostly filled with advertisements and rapes and murders. If you travel in the country and you stay in the smaller places you find very limited resources. If America spent the same amount of money as we spend on embassies and CIA stations around the world on our major cities with the goal of helping bring those cities to a way of life that was democratic and economically viable, we would have a tremendous success in this country. Instead, we have an international presence and I don’t know if it is worth it. All we are doing is promoting a system which is now suspect all over the world. We have broken our constitution repeatedly since 2001.”

He smiles cynically.

“I don’t think pictures of soldiers pointing their naked dicks in Abu Ghraib has helped us at a local level either.”

He’s still got it.

-Tara Brady, “Stone cold sober,” HotPress, Sept 19 2006 [x]

#oliver stone #World Trade Center #hotpress #dui #arrests #iraq #Iraq War

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