somethingspecial | Entries tagged with the show must go on

[Rachel is holding a notepad close to her chest, looking somewhat somber. She's outside, in the ashy snow, with her dog at her side, by a tree that is half burnt and broken, twisted by the event. When she speakss, her voice is quiet.]

I have heard a lot of discontent over what has happened -- and people have every right to be angry with Mister Mandrake and Miss Hino -- but I think our real focus should not be on punishing two people who made a mistake and instead should be focused on the reality that we are going to run out of food before the next snowstorm of the season. Which is why I've organized three food drop-off points within the city in some of the stable buildings that are still standing. I would like to transform two of these buildings into a shelter and while I have heard Miss Hino has already opened the Temple of Heaven to those that need it, I would also like to point out that St. Basil's Cathedral is large and able to house a lot of people.

[She pauses before looking down at her pad.]

I've set up massive crates at the Temple of Heaven, St. Basil's Cathedral, and at the fountain in the Safezone. These crates are for any canned, jarred, or non-perishable food that can be spared for the people that have lost anything. I will collect whatever food is there three times a day, to be delivered at the closest area of need, but most of the collection will be going to either Miss Unohana's clinic or the two abovementioned buildings. I am going to rely on the honor system that no one will steal from these crates, but should people do so, please keep in mind that there are over one hundred people in this city that require food just as much as you do.

Any donations of blankets, clothes, and other materials needed that were lost in the fire are also appreciated. Please leave those in the crates, too -- I will ensure they are taken to the shelters and safehouses scattered around the city. And --

[Rachel chews on her lower lip.]

I know this is a very difficult time and a lot of people don't... necessarily believe in this, but I am going to St. Basil's Cathedral tonight at seven o'clock, should anyone else want to pray with me. Everyone is invited and -- for future reference --

[And Rachel sends the coordinates to The Temple of Heaven, the fountain, St Basil's Cathedral, and Unohana's clinic in a text attachment to everyone on the network.]

-- there's where you have to go.

Thank you.

[And Rachel shuts off the feed.]

[Text Sent To Network ; Attachment: Oh Holy Night]

[It's snowing. And Rachel is outside, clad in a green dress, with a red long jacket over it, complete with a green beret, readying a microphone outside of the theatre. It appears she's connected it to a speaker, which is connected to the sound system inside the theatre -- and the PCD is position directly on her, as Rachel wraps her hands around the microphone, to take a deep breath. It resonates, through the speaker, and through the network.]

It is now Christmas.

[It's quiet, and her voice echoes as she speaks into the microphone.]

I don't personally celebrate it, but as most of the individuals within the city are most familiar with the commercialized version of the holiday, I thought I would offer something of a prayer in song concerning what the holiday is supposed to be about -- so... I hope you enjoy it. And I sent a text message to all of you, with the lyrics, should you want to sing along. I would not mind the accompaniment.

[And Rachel turns slightly to press a button on a boombox that is situated on top of the speaker. There is a silence before the instrumental of the famous song begins to play, scratchy at first, before it becomes clear -- and then, Rachel takes another deep breath before she begins to sing.]

( cut for song exposition )

( [Filtered to the angels // Private // Unhackable] )

[Rachel is lying on her bed, one hand hanging off of the edge to rest on the head of her dog, staring at the ceiling with half-closed eyes. She's wearing shorts, and a tee-shirt, and worn sneakers -- she looks as if she might've just gone running. On top of that, Rachel looks exhausted, and her breathing is slow and even, as if she's drifting off to sleep.

She doesn't, though, and speaks quietly to the dog, though she doesn't look away from the ceiling.]

... maybe going for another run will help staying asleep.

[It's quiet, and absent, as her eyes drift fully closed, though her fingers gently scratch the dog's head as she stays awake. She's silent for a long moment before she draws in an even breath, before singing lazily to herself, to no one in particular.]

There is a castle on a cloud...I like to go there in my sleep...aren't any floors for me to sweep...not in my castle on a cloud. There is a room that's full of toys...there are a hundred boys and girls... nobody shouts or talks too loud...not in my castle on a cloud...

[Evita pushes herself up to rest her head on the end of the bed, but Rachel doesn't notice, letting the dog move her hand, as she continues to sing quietly to herself, though her voice is growing softer, as she's drifting off to sleep.]

There is a lady all in white, holds me and sings a lullaby... she's nice to see and she's soft to touch...she says "Cosette, I love you very much."

[Evita whines softly and Rachel gently smooths down her fur before the last trailing notes of the song die off into a murmur.]

Wake me up when the event stops, Evita.

ooc; Responses will be when she wakes up, which will probably be in a couple of hours. Nightmares suck, bro.

[Rachel is in the kitchen, chopping up apples to put them into a pie. She has a look of great concentration on her face as she tips the apples and cinnamon and nutmeg into the pie crust, which is already at her right. When she's done filling the pie, she gently rolls out the upper crust, before Rachel does something she hasn't done since her death -- sing. It's soft, gentle, and entirely absent, but it's there.]

It's been a long time since I came around... been a long time, but I'm back in town -- and this time I'm not leaving without you...

[Her fingers pause, in pinching the crust closed, and one hand immediately flies to her throat, startled -- before she sings a little bit louder. It's hesitant, and a little out of practice, and Rachel doesn't sing to her true strength, but it's still on key.]

You taste like whiskey when you kiss me, oh, I'd give anything again to be your babydoll...this time I'm not leaving without you...

[Her fingers move away from her throat to continue making the pie crust, but she keeps singing to herself, quietly, but with the tiniest smile on her lips. By the time she' s finished with the song, the pie is finished, and she turns neatly to slide the pie into the oven. When she's done with that, Rachel turns again, to grab at her PCD, unaware that it's recording.]

( [Filtered to the Glee kids // Private // Unhackable] )

( [Filtered to Hanna Marin // Private // Unhackable] )

[Rachel is at a booth -- specifically, a game of skee ball. The wooden ball is clutched in her hands and she looks woefully unsure of herself. However, the individual running the stand encourages her to take a shot, and so Rachel does, the ball racing along the wooden track to sink neatly into the outmost ring, earning Rachel a tiny beaded bracelet.

Her jaw sets into a scowl at the small prize before she slides another smooth stone towards the operator, earning another wooden ball. She takes another shot, but it goes awry, and it lands once more in the lowest scoring ring. She earns another gaudy piece of costume jewelry and the operator of the booth seems to tell Rachel to try something else, but Rachel Barbra Berry is on a mission now.

The feed continues for at least twenty minutes -- Rachel pushing another stone forward and earning another ball. She gets a heap of small prizes -- plastic rings, tiny stuffed mice, a pencil with a rabbit eraser on it -- but eventually, Rachel lines up, and sinks the wooden ball in the direct center, on her very last stone, to earn a prize of her choice.

She selects a blue bear with a star on his stomach instantly, accepting the bear and her prizes -- which the operator has put into a bag for her -- with the first bright smile she has worn in at least a week. She holds up the bear, to inspect it, and her smile turns slightly watery, but she puts on a brave face all the same, before she speaks to the booth operator.]

Gold stars are my thing, you know. I sign my name with a gold star -- because gold stars are a metaphor, and metaphors are very important. They're a metaphor for me being a star.

[She pauses before she hugs the bear to her chest, ignoring the operator's lack of interest in her statement in favor of smiling to herself.]

I think I've forgotten that, lately.

[She beams at the operator before wandering off, taking up her PCD, with her Care Bear, after tossing a friendly:]

Thank you!

[Over her shoulder with a hum as she moves to the next ride.]

[There is the faintest tinkling of piano through the feed, forming the beginning of the finale to one of the best Broadway musicals of all time -- well, if you ask her anyway. A well-trained ear will be able to hear uneven breathing, very faintly -- but it stops, soon enough, as Rschel begins to sing.]

I'm limited...

[The quickest inhale of breath, as Rachel forces herself to speak the lines that melt in between the beautiful melodies of the song.]

Just look at me -- I'm limited...and just look at you, you can do all I couldn't do...Glinda...so now it's up to you... For the both of us. Now it's up to you...

[There is the slightest hitch of breath, as Rachel continues to play -- the moment of hesitation quickly being glossed over as Rachel begins to sing Glinda's role.]

I've heard it said that people come into our lives for a reason...bringing something we must learn and we are led to those that help us most to grow -- if we let them... and we help them in return...well, I don't know if I believe that's true -- but I know I'm who I am today, because I knew you...like a comet pulled from orbit as it passes a sun... like a stream that meets a boulder halfway through the wood... who can say if I've been changed for the better? But because I knew you... I have been changed for good...

[The piano playing becomes more emphatic, stronger, more passionate, and when Rachel sings the next piece of the song, there is something very different about her voice. It is stronger, passionate -- it is the perfect fit -- because Rachel has reached Elphaba's piece of the famous duet and this is the role that she belongs in.]

It may well be that we will never meet again in this lifetime... so let me say before we part -- so much of me is made from what I learned from you -- you'll be with me, like a handprint on my heart -- and now whatever way our stories end -- I know that you have re-written mine by being my friend --

[Her voice chokes, ever so slightly, at the tail-end of the last note -- but Rachel is a professional and she sings through it bravely, not skipping a beat, despite her error.]

Like a ship that's blown from mooring by a wind off the sea -- like a seed dropped by a skybird in a distant wood -- who can say if I've been changed for the better? But because I knew you, I have been changed for good --

[A brief silence, as Rachel plays, before she delivers the next words with such emotion and heartbreak that it's almost entirely believable that she's singing on stage in front of a sold out crowd in the Gerswhin.]

And just to clear the air, I ask forgiveness for the things I've done you blame me for -- [the slightest pause, as Rachel switches roles seamlessly] -- but then I guess we know that there's blame to share -- and none of it seems to matter anymore -- !

[And her voice swells, as Rachel carries the note while playing the piano to keep up, before she sticks solely to Elphaba's role. There are numerous glitches -- singing that passionately while trying not to burst into tears is difficult, to say the least, but Rachel doesn't seem to care. Her perfectionism is lost in the moment, and she tries her best to continue with the song.]

Like a ship blown from it's mooring by a wind of the sea! Like a seed dropped by a skybird from in a distant wood! Who can say if I've been changed for the better -- ?

[And, suddenly, Rachel's voice softens, and so does the piano, into a quiet admission.]

... I do believe I have been changed for the better. And because I knew you... because I knew you... because I -- knew you... I have been changed...

[The final notes of the piece follow the last dying notes of the song as Rachel whispers the final two words.]

For good.

[There is a long silence, and it may almost appear that Rachel Berry has hung up on Adstringendum -- or that the recording was an accident -- before she continues quietly.]

Kurt Hummel has left Adstringendum.

[And the feed ends after that.]

[Rachel is calf-deep in water, holding her puppy Evita, staring at the completely and utterly flooded theatre that she has been renovating. Some parts of it have resurfaced as the water has finally begun to recede -- the stage is visible, as is the tips of the chairs of the orchestra pit -- but there is still quite a lot of damage done by the past event.

Her expression isn't shocked, necessarily, but more of a grim acceptance of what is before her, with a definite tinge of sadness in her eyes. Eventually, she hugs the dog a little closer to her chest, despite the squirming, and she finally says, in something of a small tone:]

I suppose Don't Rain On My Parade is woefully inadequate to fit the scene before us, Evita. Perhaps something a little more subtle -- though I don't think even I have a song in my repertoire to fit the bill.

[She rests her chin on the top of the puppy's head, before she adds, a bit miserably.]

... I don't even know where to begin.

[There's a long silence -- but there's the sound of breathing, so the feed is definitely on -- and it sounds as if Rachel is debating whether or not to say anything at all, judging from the soft humming coming from the voice feed.

She's thinking.

But, ultimately, she speaks softly, with some trepidation, plenty of concern, and a lot of sadness.]

It's been days. Why -- hasn't Anna come back yet?

[But then, Rachel seems to rethink her question, and she clears her throat softly.]

Though I suppose sometimes it just takes longer than others, doesn't it? Death -- it's rather traumatic, of course, and sometimes the Animus just want to take longer -- maybe it is for dramatic effect -- a grand encore for their work --

[Another pause, somewhat harsher, before her voice becomes a little quieter.]

... it is bizarre how that -- death, returning -- destruction -- all of that has become normal.

[Rachel sounds distracted -- but her tone is sincere and quiet, at least.]

I'm -- really sorry for how I acted this week. It seems, for a brief moment, that I entirely forgot where I came from and --

[There's the tiniest hitch of breath before Rachel clears her throat, steeling her nerves.]

While apologies will not take back what was said and done, I wouldn't feel right not offering one, anyway. So, I am sorry, and to whoever I spoke with during the event, I can assure you that I am not that much of a --

[...]

-- soulless witch.

( [Filtered to Blaine // Private // Unhackable] )

( [Filtered to Jesse // Private // Unhackable] )

[Rachel is seated on her bed, legs crossed, a notepad in front of her, a pen between her teeth. For a moment, she appears to not know the PCD is recording -- but then she looks up, checking something off on the paper on her lap.]

I have a few items to address, so if everyone would kindly listen, I would very much appreciate it.

First, I appear to have lost my memories of this place. Luckily, I am a very avid journal taker, so I have been re-reading my experiences in this world. To those who I was friends with, I would like very much to reconnect with you and catch up. [And here, a watery smile -- a warm tone.] So, please, tell me what I've forgotten. And I apologize for forgetting.

[She looks down at her notepad and ticks something off before continuing.]

Secondly, I would like very much to know what attacked Blaine so we can have that creature put down immediately. If it was not a creature, but a person, then I will have you know that you are a coward and worth none of the kindness these people possess. You will be caught and punished thusly -- if you have the courage to come forward and say something about it.

[Another look down, another check mark.]

Thirdly, I would like to arrange an official schedule for the Glee club rehearsals. To anyone who would like to join late, please contact either Kurt or I to schedule a time for us to listen to you sing.

[A hum -- another check mark -- and, suddenly, Rachel's voice becomes very tense with annoyance.]

And speaking of Kurt -- this is item four -- I would kindly like to speak with you concerning my business immediately. I will be in my room. If you do not come here within five minutes, I will come find you, and I will not be happy about it.

[Rachel looks down at her list, before humming in appreciation, flashing the PCD a smile as she reaches out to shut it off, before she pauses.]

... and, Jesse, I made it back safely.

[With that, she turns the PCD off.]

Current Mood: bitchy

It's almost February 14th.

[Rachel is peering at her calendar. She's drawn a heart over February 14th -- Valentine's Day -- but the bubble over her head seems rather somber, for some reason. You would think Rachel -- a girl who loves being loved and sings her heart out -- would look forward to Valentine's Day... but instead, the bubble just looks depressed.

Rachel, however, is well-practiced at her smile, and she looks at the camera almost sunnily.]

What is everyone planning on doing for Valentine's Day?

Current Mood: sad

[Rachel is sitting on her bed, staring almost blankly at the mirror she managed to find and fix up the best she could. Her posture is perfect, her breathing even, but to those that are paying attention very carefully, Rachel's hands are shaking.

Suddenly -- she's on her feet -- and the PCD is in her hands -- ]

You can't help me organize anything and be a co-captain if you leave me here, you --

[And the PCD hits the mirror as Rachel throws it. Luckily, she only has a decent arm, so the mirror doesn't shatter into pieces... it simply cracks.

The PCD slides onto the dresser and Rachel moves towards it, pressing her hands against the worn wood, shaking. Her face is not shown, but the wood of the dresser suddenly has spots of moisture on it, darkened by her tears.

And finally, in a very soft, almost heartwrenching, breath-hitching soprano:]

Inside, my heart is breaking... my make-up may be flaking... but my smile, it stays on...

[A deep breath, and this time, spoken, but faintly:]

Through heart attack or heartbreak, the show must go on.

Current Mood: crushed

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Rachel Berry

2025

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Rachel Berry ★

Being a part of something special makes you special.

Entries tagged with the show must go on

50 [Video]

49 [Video] After Raphael's death.

46 [Accidental Video]

43 [Accidental Video]

36 [Accidental Video]

32 [Voice]

30 [Accidental Video]

27 [Voice]

22 [Voice]

18 [Video]

13 [Video]

12 [Accidental Video]