Jack of All Trade, in this Masquerade

The Color of Tragedy

The scene shifted, paint on a canvas smearing, and Glen became a black satin stain beneath layers of paint, the crimson and commanding presence disappearing as the world rearranged itself.

The many Jacks faded into the background too, until he couldn't tell if they remained mirrors—(mirrors hidden within the many halls and rooms, built within the walls of his heart)—or if they were strangers and friends again; other people, not himself.

The pillars to the ballroom slowly dissolved, as if in water, changing into a courtyard green sprouting up all around.

The music had always been an unfamiliar tune he was expected to inherently know the moves to. And no matter how much he listened to it, it never became innate. Now, after all this time, it morphed into something familiar. But familiar did not mean un-painful or un-maddening.

The soft tune of a pocket watch tiptoed on his brain, each footfall a syringe in his thoughts, dripping cold beautiful insanity slowly into his soul, one drop at a time, infecting it until it blocked out every other melody, and his feet forgot the moves he had so ruthlessly sewn in.

When he turned, the source was behind him; a man standing in the courtyard. All black now; black hair, black cloak. No crimson. Like he never spilt her blood. Like she never existed in the first place. All black...except for the eyes. Gaze fluctuating between daggers...and some emotion he was struggling to keep from escaping; the leader, and the broken boy, crying on the ground. Soot with sparks buried within; glints of violet, glints of gold. Glitches of empathy in the perfect program. His eyes focused on the pocket watch—(a glint in the dark itself)—until they flicked to him, and Jack felt those eyes as a sword at his throat.

At the shift in his gaze, the scene itself turned over again, wind blowing by him, a single spark of violet glowing in the blurred tapestry, and ever, ever that melody, slowly corroding him.

Glen sat in the grass on a sunny day, those violet blades sheathed as he bathed in the afternoon sunlight.

The first respite from the dance in all these years. A rest in the measure.

Glen, sitting in the sunlight. Glen, playing the piano—always that single, haunting melody, laced with a name, filling up Jack's mind with the harmony until he was drowning in its sound, and could think no other word.

That melody, that word, and her voice—(A memory of her voice, soon given to him by a bloodstained black rabbit)—pulling him through the blurred universe to a balcony, drawn there like he was ink on a canvas, subject to the whims of the artist.

Brown hair, like hers.

Violet eyes, like his.

White dress.

Black dress.

Her existence was not tied down. As if it was a part of the smear itself, and not the concrete picture beneath it. She was a part of all these mistakes the artist tried to smudge out.

Jack pulled a white rose from his pocket.

He offered her a red rose.

"Would you care to dance, Alice?"

******

A little girl held the keys to those chains—held them, held by them all the same; that is to say her world would fall into the dark too, if the bounds were to break. A little girl chose the music, the steps. A little girl ruled the world.

Is that why they call it insanity?

Her daughter.

Gods may be fixed in the sky, watching all our misdeeds, and we believe in them, not they us, but children can be made to believe anything. Such as: men who come down the chimney do so to give them presents, that putting their teeth beneath pillows is anything more than gross. One can make them believe the world isn't made of malice. You can make them believe you haven't sewn your mask—and the things you stole to get those jewels, things like lives—into the skin. You can make them think you're a hero coming to save them, make them more than a blur, a mistake, a prisoner of their own creation, but a part of something real and concrete, when you're just using them, like everyone else will. Naiveté is powerful and dangerous in that way.