Ｉｔ ｏｐｅｎｓ ｈｕｇｅ
: a grand, soaring aerial shot over the Giza pyramid complex, where countless Hebrew slaves are singing through dramatic and thunderousmusic that feels as much like an oratorio as it does like Broadway,all imposing and historic and impressive. As the focus starts to tighten on a woman placing her infant son in a reed basket to save him from the Egyptian murder squads, the score turns winsome and pained, as the mother sings a lullaby to her child and sends him down the river to his fate.
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Klavier couldn’t help but feel just the tiniest bit neglected.
Apollo just up and left for Khura’in without so much as a courtesy call and whenever Klavier tried to speak with him recently, he said that he was busy and had to go between five and ten minutes after answering the phone. Deep down, Klavier knew he had little right to be so angry; he and Apollo weren’t a couple, despite how much he adored his Herr Forehead. He had believed that there was some mutual pining, but all of this just shouted to him that he had misread their little dance as something more than what it apparently was.
His go-to person to hang out with was now Simon, but the man was currently on a very high-profile and thus busy case, leaving him with little to no time to spend with Klavier. And when Klavier was alone, he found himself looking at old family photos, his eyes and thoughts lingering on Kristoph.
He even tried going down to the prison to visit his brother when he was at his loneliest, but after waiting for about a half hour, a guard came in to tell him that Kristoph refused to leave his cell after asking who wanted to see him. Apparently, after the guard said “Prosecutor Gavin,” Kristoph laughed and mumbled about his “traitorous little brother” over and over again while going back to the book that he had been reading.