Dinah Laurel Lance (
raptorcanaria) wrote2013-04-22 09:20 pm
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Entry tags:
Labyrinth
Here's the thing about Milliways: It's not the Real World. Dinah has a very clear delineation in her mind: there're things that happen in the bar, and there are things that happen at home, and even if people visit from one to the other, they're very different places.
Justice League, supervillains, Oliver. Those things don't follow her in. Which is good and bad, because it becomes a place to escape. And escape becomes too safe, somewhere where actual threats aren't real. That's the problem with the place. It's not home, and it doesn't touch home, and if she wanted, she could stay in the bar, rent a room, and never have to worry about outside. And that's what's so dangerous.
Not that she's thinking of danger right now, even deep in the forest where there might be demon rabbits. She's just thinking of the run, and the exercise, and also where she wants to take Ollie for dinner tonight. That's how she manages to get lost.
And how she finds herself facing a rough hewn stone wall, with a door cut into it.
Dinah stands in front of it, stretching out her warm muscles, staring at the door. Has that always been here?
Justice League, supervillains, Oliver. Those things don't follow her in. Which is good and bad, because it becomes a place to escape. And escape becomes too safe, somewhere where actual threats aren't real. That's the problem with the place. It's not home, and it doesn't touch home, and if she wanted, she could stay in the bar, rent a room, and never have to worry about outside. And that's what's so dangerous.
Not that she's thinking of danger right now, even deep in the forest where there might be demon rabbits. She's just thinking of the run, and the exercise, and also where she wants to take Ollie for dinner tonight. That's how she manages to get lost.
And how she finds herself facing a rough hewn stone wall, with a door cut into it.
Dinah stands in front of it, stretching out her warm muscles, staring at the door. Has that always been here?
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Then she offers a hand to Voodoo.
"What was in there?"
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Well, not as much as if he didn't have any ammunition left.
She turns away as the walls get close enough that the spikes are overlapping, just in time to see and hear the second section of the walls start to shift. This time the spaces between the moving parts are further apart, but instead of spikes, something round, narrow and hollow starts to move out of every hole.
Dinah realizes what they are just in time.
"Down!"
She actually wrestles him to the ground before she gets the word out, and the air above them cackles as lines of flame fill the space for three seconds.
And again, the walls start to creak inwards.
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"Really? Fuckin' really?"
He rolls out from under Dinah, running to the wall, dropping to the deck as the pipes spit fire again.
"A soundtrack would be nice, you know!" he shouts to nobody in particular as he hops to his feet. "Common fuckin' courtesy to pipe in some John Williams when people're dodging your fuckin' death traps!"
The pipes spit fire again, and he drops to the deck -
- but he's too slow; the fire wings him, and soon there's an inferno blossoming on his sleeve.
"Shit! GodDAMMIT!"
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She's stayed down for the two fires, despite the impending death by crushing and when Voodoo drops beside her, she dives towards him.
"Voodoo! Are you okay?"
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"Just a burn. No bone. I'll be fine."
He presses his head to the deck as the pipes spit fire again, then hops to his feet when they die out.
"C'mon, move!"
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As soon as it is out, she rolls to her feet, grabs a pipe (and scowls because it's hot) and swings herself up, putting a foot on another one and rolling on to the next level.
When the fire spits again, she's above it.
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"What's next?" he hollers. "Ninjas? Pirates? Poison gas? Low-yield nuclear bombs?"
Someone doesn't know when to stop tempting fate.
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"Please let it be ninja," she mutters dryly, staying low. She nudges Voodoo in the foot now and indicates the narrow wall at the far end of the hall. At the top, she can now make out another triangle.
It's still way out of their reach, vertically and horizontally, but she starts to address the latter by running in that direction, along the still-moving floor.
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"If this don't net me a fedora an' a bullwhip by the end, me 'n whoever runs this place? We're gonna have words."
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Mike will totally do it.
As the floor they're on closes, Dinah stops and looks at the walls now starting to close.
There doesn't seem to be any fire coming out of the, but there's also no convenient handholds. Just one shallow groove running along one side at five feet, and on the opposite wall at fifteen.
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"Okay, this one? This one's actually pretty well-designed."
He steps back.
"How high you think you can jump if I boost you?"
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"With a running start, I could get the top one. Clearing it would be a push."
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He positions himself close to the wall, making his hands into a stirrup as before. "Ready when you are."
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As she approaches, she counts her steps:
"Three! Two!" On one she plants the ball of her foot into his stirrup and leaps up.
She easily grabs the uppermost ridge and jams her fingers in, pulling her feet up to the same ridge.
Oh, for a bat-grapple.
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"How're you doin' up there?"
Not to pressure you, Dinah, but WALLS MAKING FOR SQUISHY-SQUISHY ACTION PRETTY DAMN FAST.
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"Come join me."
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"Up there? Me, an itty-bitty blanco niño?"
He shakes his head, grabs hold of the groove on the opposite wall, then sticks a foot in and jumps before sinking his tomahawk into the wall. The blade slips, and he turns, jumps to the opposite wall-
- and just barely grabs the groove.
"Okay," he says, scrambling into position, "what now, we wait for only half of us to get squished?"
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"Now I complain loudly about hos you need to go on a diet and shed that bulk, machoman."
In other words - grab her hand and do it now.
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"You try humpin' a ruck up 'n down a coupla fuckin' mountains every goddamn day, see if you don't bulk up."
In other words - whatever, just don't kill them.
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Though right now she's wishing they were Batman and Robin, this'd be so much easier.
"You're gonna have to jump, OK? I've got you."
And if she can get him to her level, they're good.
"On three."
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His grip slips and he clenches his fist -
"-two-"
- his knuckles are turning white, turning numb -
"-three!"
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There's an ugly popping sound, and she squeaks in pain, but the only thing she says is: "Grab hold and get yourself up."
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"You good?"
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Without waiting for him, she turns upwards and grabs the top of the wall with her one good arm, flipping herself over as she goes so she lands on her feet.
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