Marco's Heart

You find yourself in a bright white, circular room. It's nearly empty; too bare, almost clinically so. But the bareness of it means that what is visible here stands out:
A podium in the center, where a familiar figure sits, head buried in his hands. Three paths running from the podium to three different spots near the edges of the room - not corners; circles don't have corners - where three doors leading seemingly nowhere stand with no regard for their complete lack of structural support.
It doesn't take you long to figure out where you are, does it? You only have to decide where to start.

no subject
[She meets Agnes' face; hers is easier to read: she clearly has affection for Marco. This hurts.]
no subject
"... Shall we move on?"
no subject
... sure.
no subject
When the world settles, Marco is sitting alone at a desk in a sparsely-decorated room. It looks like he's writing a letter.
"Ah," Agnes says, "This is after he set out on his own again."
no subject
[She approaches the desk to see the letter closer.]
no subject
Dear Agnes,
I believe I am finally settling, despite my wretched timing (as I mentioned previously). Even in this short time, I have hopes that the economy is starting to recover. Maybe unfounded? I have tried to read some theory, but I have to admit it's somewhat tedious.
Regardless, I have carved myself a little niche in this city. I work most nights as a pianist. The pay is enough, and I am getting by, so please don't worry. (You are worrying! I know that you worry.)
I do miss your company and, yes, your supplies. As of my writing, I have worked out a method. Much like the piano playing, it is working, and I am getting by...
Ashwyn might notice this Marco looks about the same as he did when he fed on those men after the gunfight.
no subject
[She argued with the parents about it, but it still unsettled one part of her. But, pragmatically, she understood.]
[She circles the room, taking it in and letting the memory continue.]
no subject
When things slow down, Marco is at a different desk, in a room that looks more like an office; a small, messy one, the kind that looks repurposed from an otherwise unused room. His hair is longer now, his glasses significantly chunkier, and he is staring at some kind of metallic board with traces and doodads like it's a precious treasure.
no subject
[How does Marco look here? Happy?]
no subject
"It really is amazing how small they've gotten these things already...!"
no subject
no subject
"I understand, but... I hope you understand, too, that he could never have been this if he had lived a normal, human life. Today, the man calling himself Luigi Evangelisti is somewhere around 250 years old. He never would have made it here on a mortal lifespan."
no subject
[She sighs]
Sometimes life's just gonna kick you in the teeth and all you can do is take it.
no subject
"Are you going to speak to him?"
no subject
[She approaches Marco and sits near him.]
Hey, Marco. How's it?
no subject
no subject
Right, must'a been thinking of someone else. Whatcha selling?
no subject
He slaps a hand down on the desk. It doesn't look gentle, but in truth, it is.
"I'm working on software for these little machines. I'd like to make something anyone can work with at home."
no subject
no subject
no subject
I know you can do it, no matter how lofty it is.
[She glances back towards Agnes.]
no subject
She nods. It's time to move forward.
The transition doesn't take long, this time. They're in Agnes' "establishment" once again; the building is either not the same, or it has been extensively renovated over the years, but there are certainly shelves stocked with blood in here. A few vampires seem to be dining, in fact.
There is also an Agnes here who looks almost exactly like Ashwyn's current guide, and a Marco who looks exactly like the Luigi Evangelisti that was in Tributary not long ago.
no subject
no subject
The other one, the one in this memory, looks at a gift-wrapped box with the suspicion and skepticism of an adult who has been telling Marco that she doesn't need gifts for nearly a decade.
"Go on, it's yours," Marco tells her.
She relents and opens the box, revealing an absolute brick.
no subject
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)