It does. The preparation is a far earlier version of what the Americans do, and it's why the grinds remain in the bottom of the cup. Moreover, it's more concentrated, which is why the cups happen to be so small.
[Alucard takes his own cup, adding two of the sugar cubes to it and then stirring.]
Likewise, it is more bitter. But we're not here for the history of coffee.
[Settling back into his seat, Alucard fixes Vanessa with a mildly curious stare.]
What interest do you have in my country's folklore?
No, but I find the pursuit of knowledge a pleasure in its own right no matter what the topic. [Coffee, flesh eating beetles, the blood thirsty undead...
Vanessa follows Adrian's lead, two cubes of sugar and a slow stirring. The ritual of Turkish coffee. The glasses are beautiful, with the delicate handles and bowl of the cup. Once the mixture is stirred she sets the spoon on the saucer and redirects her attention to her host and his gaze.]
Ah, yes. A potentially intriguing topic to be sure; the more monstrous tales from your country. Ones of those who shun sunlight and are sustained by darker substances. It is an interest inspired by recent writings that my colleagues and I have come across.
[Yes, the word vampire has been in circulation for a long enough time, but Alucard knows the part he is playing well an that means using the old words too. He's careful as he holds the coffee in his hand, face a careful blank as he responds in full.]
What of them, precisely? There's too many stories and variations for me to know where to begin without additional guidance, I'm afraid.
[Vanessa nods simply and takes the moment to pick up the still steaming glass to take a careful sip. It's no exaggeration to call it strong but the sweetness of the sugar helps to temper the bitter taste.]
Out interest mainly lies in their power, more specifically their power over others. [Another delicate, silent sip before she continues - a moment to gather her thoughts.] How to loosen that grip.
Well, the end-all and be-all of any creature who is considered a strigoi is to decapitate the creature while it rests, effectively making it impossible for it to rise again from the grave. Of course, decapitation stops most things from continuing onward.
[It isn't a joke, only a dry observation. One that means Alucard's attention is focused on Vanessa and her reaction, rather than the hot glass in his hand.]
Almost every solution to strigoi benefits from knowing their exact location. Otherwise, what is recommended is almost laughable unless you know the countryfolk of Romania and the greater Balkans. Garlic is a constant, as are religious symbols. Some cite wild rose or hawthorn as a deterrent, and so on. Apotropaic devices are often things of the local land. Hard to find in cities.
Then there are some constants in life. [And then, because maybe she feels his weighted eyes upon her.] The coffee is quite good, smooth and strong and the sweetness adds a nice complexity.
[After another sip she sets the cup back in its saucer and looks up to take in his knowledge. Some of it is confirmation which is incredibly useful.] Is it true that the creature must also believe in the power of the device or symbol in order for it to be effective?
Thank you. I rarely have company, and so I was unsure how'd you react to my own preferences.
[Alucard doesn't smile, but for a moment, his eyes are a little softer. Warmer. And then all turns back to business and the neutral tone comes back.]
For religious items, the answer is more about cultural dominance. For example: if an undead was from the subcontient, then Christian symbols might have no effect.
[A polite inquiry to his residency and time in London in between gentle back and forth about the undead. From her purse she withdraws a small book and pencil to make a note.]
In the tales of the vampire - the strigoi. Have you ever come across how they organize themselves. One creature is not like the rest, there are, stages I believe?
[He's too new to the city to have a social circle, too independent to want one. Alucard's aware that it shatters some of the narrative he's crafted for himself.]
Do you mean stages of transformation, or an organizational hierarchy? Those are two distinct things.
The London social circuit is not for all, and even more so for some. How long have you been in London? I think your coffee and baklava would be very appealing to a certain crowd.
[Speaking of which, she will absolutely help herself to a piece - thank you very much. It really would be rude not to and not simply because she has a sweet tooth.]
Both. [Vanessa smiles as she brings the delicate pastry to her lips.]
A month or so? Perhaps slightly longer. I'm unsure of how permanent the move is, in truth. If it's only to be a few months, then I doubt there's much value in spending time attempting to elbow into such circles.
[Alucard? Not wanting to deal with people? Shocking, truly.
But Vanessa says both, and Alucard lets out a tired sigh.]
Organizational hierarchy then, that's easier to begin with. Most stories agree that there is an element of territorialness to the creatures, and so large swaths of land are often theirs and theirs alone - like nobles carving up land to farm and place serfs on and raise cattle. In this metaphor, the cattle are humans, whereas the serfs are the occasional other undead. If a person is turned, they have a built in hierarchy to who was responsible for the act.
One would hardly think the weak slap fights and the passive aggressive behaviors worth combating for such a short time. Where do you usually reside if not in London?
[The question catches her off guard. Not because she wasn't following but because she finds it rather easy to follow. His framing makes it incredibly easy for her to grasp. Have others not? A sip of Turkish coffee washes away the sticky sweet of the pastry.]
I don't have a usual residence yet. Being so freshly removed from Romania, it'll take me time to decide where to stay in the longest terms.
[Alucard waves one hand over his own coffee cup, letting the steam accumulate on his palm. There's a purpose there, to make sure his body temperature still feels human.]
The matter of turning is also where the other hierarchy comes in - that of age. Usually the younger undead is, the less powerful they are. As a result, they have far less in general - less territory. Less respect. Fewer hunting skills. If the vampire who turned them is invested in their well-being, that may change quicker.
Since the start of the century, Romania has been the subject of invasion and revolution. Even now as a Kingdom, things are not settled. My family's age, at the moment, is against it. There are distant friends here, and so it felt safer to be on an island for a bit.
[Alucard's honestly impressed by the system, even if he says nothing of it. The pause allows him at least a moment to sip his own coffee. Then all but drain it.]
Redeemed as in returned to a human state? [He shakes his head no.] Undead is still a form of dead.
[The Vanessa Ives brow furrow is in full effect here as he shares a bit of his backstory.] I am sorry to hear that. I hope that peace returns to your land so you can return as well.
[As for the juggling, everyone has to have some talent. Things calm down a bit when the coffee is finally finished but before the caffeine takes full effect.]
Ah. Yes, that is what I was curious about. Is there any way to save a person from the vampire's thrall?
That is very kind of you. We'll have to see where my countrymen direct our collective fate.
[It is very hard to tell, truly. But the matter returns to the real purpose of Vanessa's visit, and Alucard tuts softly.]
If they haven't been turned into a vampire, yes. But the quickest way to release that hold is to kill the vampire. [Moreover...] You're asking for practical purposes.
[Maybe a small noise of derision there. Fate in the hands of men, how poorly the world fares.
Well, damn.
She should have been more on guard, more careful with her questions, paid closer attention. Less attention on him and more on her asking. Maybe too much coffee, she can feel her heart race the jitter starting there and radiating outward. Maybe it's just fear for her friend. For any desperate hope that they can save Mina.
Vanessa regards him steadily, searching for a read, for anything. Because vampires aren't real, obviously - ha ha ha...]
[It is difficult to disagree with him, the idea that belief equals reality. She knows those who would certainly disagree with him, but then again they would disagree with her as well. Vanessa Ives has dedicated her soul to an entity that is actively silent when demons shriek freely.
All of those racing thoughts don't help her now as he remains cool and removed. Impossible to read. But he hasn't laughed, his look isn't full of contempt...]
Yes. My friend Mina, she has been taken by a fiend, fiends such as we speak about.
[Finally pulling her eyes away from him and returns them to the safety of her clasped hands. Fingers entwined, clinging to one another as if there was nothing else solid in this room.]
In body and spirit. We search for her, she calls me, leads us...
[On this one, there's no hiding the reaction. Alucard hisses softly, and it has a sympathetic enough undercurrent. But there's also a cringe, unmuted.]
In body is where I begin to truly worry then. How long has she reached out for? How many days?
[It's still difficult to talk about, the pain, the guilt, the fear. Her head bows and she works to calm her breathing, to hold back the emotion that is not appropriate to express at this moment.
When she finds her calm, when she hears his hiss of breath Vanessa raises her head to regard him.]
It, it is not consistent. Sometimes she appears, or speaks to me through dreams, through the tarot.
[Alucard's gut is to say that he can be of no more help. Whatever is going on, it is likely too far gone. It will require the woman Mina's death, and that is a cruel thing to voice.
But he nods along. Says nothing for a moment, then clicks his tongue softly.]
And there is no set schedule. Our stories have not touched upon such circumstances before.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
no subject
[Alucard takes his own cup, adding two of the sugar cubes to it and then stirring.]
Likewise, it is more bitter. But we're not here for the history of coffee.
[Settling back into his seat, Alucard fixes Vanessa with a mildly curious stare.]
What interest do you have in my country's folklore?
no subject
Vanessa follows Adrian's lead, two cubes of sugar and a slow stirring. The ritual of Turkish coffee. The glasses are beautiful, with the delicate handles and bowl of the cup. Once the mixture is stirred she sets the spoon on the saucer and redirects her attention to her host and his gaze.]
Ah, yes. A potentially intriguing topic to be sure; the more monstrous tales from your country. Ones of those who shun sunlight and are sustained by darker substances. It is an interest inspired by recent writings that my colleagues and I have come across.
no subject
[Yes, the word vampire has been in circulation for a long enough time, but Alucard knows the part he is playing well an that means using the old words too. He's careful as he holds the coffee in his hand, face a careful blank as he responds in full.]
What of them, precisely? There's too many stories and variations for me to know where to begin without additional guidance, I'm afraid.
no subject
Out interest mainly lies in their power, more specifically their power over others. [Another delicate, silent sip before she continues - a moment to gather her thoughts.] How to loosen that grip.
no subject
[It isn't a joke, only a dry observation. One that means Alucard's attention is focused on Vanessa and her reaction, rather than the hot glass in his hand.]
Almost every solution to strigoi benefits from knowing their exact location. Otherwise, what is recommended is almost laughable unless you know the countryfolk of Romania and the greater Balkans. Garlic is a constant, as are religious symbols. Some cite wild rose or hawthorn as a deterrent, and so on. Apotropaic devices are often things of the local land. Hard to find in cities.
no subject
[After another sip she sets the cup back in its saucer and looks up to take in his knowledge. Some of it is confirmation which is incredibly useful.] Is it true that the creature must also believe in the power of the device or symbol in order for it to be effective?
no subject
[Alucard doesn't smile, but for a moment, his eyes are a little softer. Warmer. And then all turns back to business and the neutral tone comes back.]
For religious items, the answer is more about cultural dominance. For example: if an undead was from the subcontient, then Christian symbols might have no effect.
no subject
[A polite inquiry to his residency and time in London in between gentle back and forth about the undead. From her purse she withdraws a small book and pencil to make a note.]
In the tales of the vampire - the strigoi. Have you ever come across how they organize themselves. One creature is not like the rest, there are, stages I believe?
no subject
[He's too new to the city to have a social circle, too independent to want one. Alucard's aware that it shatters some of the narrative he's crafted for himself.]
Do you mean stages of transformation, or an organizational hierarchy? Those are two distinct things.
no subject
[Speaking of which, she will absolutely help herself to a piece - thank you very much. It really would be rude not to and not simply because she has a sweet tooth.]
Both. [Vanessa smiles as she brings the delicate pastry to her lips.]
no subject
[Alucard? Not wanting to deal with people? Shocking, truly.
But Vanessa says both, and Alucard lets out a tired sigh.]
Organizational hierarchy then, that's easier to begin with. Most stories agree that there is an element of territorialness to the creatures, and so large swaths of land are often theirs and theirs alone - like nobles carving up land to farm and place serfs on and raise cattle. In this metaphor, the cattle are humans, whereas the serfs are the occasional other undead. If a person is turned, they have a built in hierarchy to who was responsible for the act.
Do you follow thus far?
no subject
[The question catches her off guard. Not because she wasn't following but because she finds it rather easy to follow. His framing makes it incredibly easy for her to grasp. Have others not? A sip of Turkish coffee washes away the sticky sweet of the pastry.]
Of course, please do go on.
no subject
[Alucard waves one hand over his own coffee cup, letting the steam accumulate on his palm. There's a purpose there, to make sure his body temperature still feels human.]
The matter of turning is also where the other hierarchy comes in - that of age. Usually the younger undead is, the less powerful they are. As a result, they have far less in general - less territory. Less respect. Fewer hunting skills. If the vampire who turned them is invested in their well-being, that may change quicker.
But there is where most tales cease to agree.
no subject
[Vanessa has worked out a system of small nibbles, brief sips and quick short hand in order to catch more of the pressing facts.]
These younger creatures, these newly formed. Do they possess any supernatural powers, or can they be redeemed?
no subject
[Alucard's honestly impressed by the system, even if he says nothing of it. The pause allows him at least a moment to sip his own coffee. Then all but drain it.]
Redeemed as in returned to a human state? [He shakes his head no.] Undead is still a form of dead.
no subject
[As for the juggling, everyone has to have some talent. Things calm down a bit when the coffee is finally finished but before the caffeine takes full effect.]
Ah. Yes, that is what I was curious about. Is there any way to save a person from the vampire's thrall?
no subject
[It is very hard to tell, truly. But the matter returns to the real purpose of Vanessa's visit, and Alucard tuts softly.]
If they haven't been turned into a vampire, yes. But the quickest way to release that hold is to kill the vampire. [Moreover...] You're asking for practical purposes.
[It isn't a question.]
no subject
Well, damn.
She should have been more on guard, more careful with her questions, paid closer attention. Less attention on him and more on her asking. Maybe too much coffee, she can feel her heart race the jitter starting there and radiating outward. Maybe it's just fear for her friend. For any desperate hope that they can save Mina.
Vanessa regards him steadily, searching for a read, for anything. Because vampires aren't real, obviously - ha ha ha...]
That would mean these monsters were real...
no subject
[Alucard's response is cool and measured, giving nothing away. Making sure his fangs are well hidden.
He leans over, placing his coffee cup back on it's tray. When his eyes meet Vanessa's again, they're still cautious. Curious.]
Even if vampires are not real, someone believes they are effected by them. So that much qualifies as a reality in my mind.
no subject
All of those racing thoughts don't help her now as he remains cool and removed. Impossible to read. But he hasn't laughed, his look isn't full of contempt...]
Yes. My friend Mina, she has been taken by a fiend, fiends such as we speak about.
no subject
Even if he begins with an attempt.]
I'm sorry the circumstances are as such.
[But to fight it. That's the question.]
Taken only in spirit?
no subject
In body and spirit. We search for her, she calls me, leads us...
no subject
In body is where I begin to truly worry then. How long has she reached out for? How many days?
no subject
When she finds her calm, when she hears his hiss of breath Vanessa raises her head to regard him.]
It, it is not consistent. Sometimes she appears, or speaks to me through dreams, through the tarot.
no subject
But he nods along. Says nothing for a moment, then clicks his tongue softly.]
And there is no set schedule. Our stories have not touched upon such circumstances before.
(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)
(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)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)
(no subject)