The little AU: Autumnal: Adventure begins
The little AU: Autumnal: Adventure begins
slashfairy
~~
Karl moves into the house in Venice Beach, the grey anonymous house walking distance from the beach, with Hunter. He gets them settled, Hunter going to Henry's old school, and makes sure that the house at the end of the bluff road is well looked after by Henry's friend.
Karl sets up a regular dog-walker for Sam and Rosie, because he knows that Orlando won't always be able to do it, he's too visible now, and not always at the grey house. He sets up an old friend of Henry's to come by the house and be with Hunter after school, because the days of filming will be long, and he won't always be home right away. He'll be in space, or near it.
Star Trek. The young Dr. McCoy. Bones.
A dream come true for a young New Zealand lad who loved science fiction and adventure. A good job, too, respectable role, finally neither bizarre armor nor wildly wigged nor half-naked, but just a man doing his job and doing it the best he can.
He's talked the role through with Viggo a couple of times, and Viggo's been his usual insightful self, made observations, drawn Karl out about things in his own life that are similar to those in the good doctor's life. They've laughed over the inevitable jokes to come: Dammit Jim, I'm a doctor, not a ___! But the humor's been strained, and Viggo distant in a way he's not been before.
Both Orlando and Karl have seen the sketches. Not just the one done on the fly for a magazine in Europe, but the others that were scattered about the room in Santa Fe: a gaunt Everett Hitch (or Nikolai, or Tom Stall, or Strider- the faces change but never the look, always Viggo under the staring, exhausted, worn starved look) looking so far down The Road that the end is impossible to see, and so close that there is no point in taking another step.
Karl wishes he were a doctor, with futuristic medicine and near-magical ability to cure what ails Viggo- the vision of a future impossible to contemplate, and essential to address before it becomes the only future, the future that's inescapable. He wants so very, very much for Viggo's future to be with him, with Orlando, in the house at the end of the bluff road, but he worries that he and Orli will have to go find Viggo, the way things are going, and bring him back to life with miracles of their own.
And he isn't a doctor. He's not even university educated. He's "just" an actor, working at what he knows best: having fun being adventurous in other people's worlds. He'll do his best in this one, too, adding to the mythology of Star Trek, where no man had gone before Gene Roddenberry did in 1966 in a small studio at Paramount, not so very far from the grey house in Venice Beach.
previously: Turn of Time
next: Shorter Days
slashfairy
~~
Karl moves into the house in Venice Beach, the grey anonymous house walking distance from the beach, with Hunter. He gets them settled, Hunter going to Henry's old school, and makes sure that the house at the end of the bluff road is well looked after by Henry's friend.
Karl sets up a regular dog-walker for Sam and Rosie, because he knows that Orlando won't always be able to do it, he's too visible now, and not always at the grey house. He sets up an old friend of Henry's to come by the house and be with Hunter after school, because the days of filming will be long, and he won't always be home right away. He'll be in space, or near it.
Star Trek. The young Dr. McCoy. Bones.
A dream come true for a young New Zealand lad who loved science fiction and adventure. A good job, too, respectable role, finally neither bizarre armor nor wildly wigged nor half-naked, but just a man doing his job and doing it the best he can.
He's talked the role through with Viggo a couple of times, and Viggo's been his usual insightful self, made observations, drawn Karl out about things in his own life that are similar to those in the good doctor's life. They've laughed over the inevitable jokes to come: Dammit Jim, I'm a doctor, not a ___! But the humor's been strained, and Viggo distant in a way he's not been before.
Both Orlando and Karl have seen the sketches. Not just the one done on the fly for a magazine in Europe, but the others that were scattered about the room in Santa Fe: a gaunt Everett Hitch (or Nikolai, or Tom Stall, or Strider- the faces change but never the look, always Viggo under the staring, exhausted, worn starved look) looking so far down The Road that the end is impossible to see, and so close that there is no point in taking another step.
Karl wishes he were a doctor, with futuristic medicine and near-magical ability to cure what ails Viggo- the vision of a future impossible to contemplate, and essential to address before it becomes the only future, the future that's inescapable. He wants so very, very much for Viggo's future to be with him, with Orlando, in the house at the end of the bluff road, but he worries that he and Orli will have to go find Viggo, the way things are going, and bring him back to life with miracles of their own.
And he isn't a doctor. He's not even university educated. He's "just" an actor, working at what he knows best: having fun being adventurous in other people's worlds. He'll do his best in this one, too, adding to the mythology of Star Trek, where no man had gone before Gene Roddenberry did in 1966 in a small studio at Paramount, not so very far from the grey house in Venice Beach.
previously: Turn of Time
next: Shorter Days