The Freeing of Genie Everywhere
Jul. 10th, 2021 10:16 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
scott_sanfordI had not planned for this. I was just noodling about at keyboard the other day and farted out this little scene, apparently because I was visited by the ghost of Roger Zelazny. Once the original play on words had occurred to me I had to think about the idea and see if there was a story there. I'm currently kicking around bits of a longer piece, where this may or may not fit.
The character of Jenny Everywhere is available for use by anyone, with only one condition. This paragraph must be included in any publication involving Jenny Everywhere, in order that others may use this property as they wish. All rights reversed.
Museums are supposed to be quiet. This one is no exception, for now.
A few people move slowly among the exhibits. One woman, anonymous in a black niqab, stops in front of a display of ancient glass bottles.
Next to one specific bottle is a placard reading “Djinn fi kuli makan.” The visitor doesn’t speak Arabic, doesn’t have to, and still knows it means ‘Genie, in every place.’ Gathering dust in a museum is a poor replacement for being everywhere.
Other visitors are about, none near enough to react in time. A hammer flashes out, smashing glass and setting off howling alarms. Shouting guards are heard nearby. A single gloved hand reaches in to the only important bottle and deftly removes the stopper; it’s easy from outside.
Smoke erupts from the bottle, far more than could naturally fit inside. People are screaming and running in all directions. The black clad figure says nothing but gives a thumbs up gesture to the cloud and vanishes for parts unknown. The smoke fills the room, roils ominously, and begins to collect itself into a human shape.
Museums are supposed to be quiet. People will be talking about this day for a long time to come.
The character of Jenny Everywhere is available for use by anyone, with only one condition. This paragraph must be included in any publication involving Jenny Everywhere, in order that others may use this property as they wish. All rights reversed.
Museums are supposed to be quiet. This one is no exception, for now.
A few people move slowly among the exhibits. One woman, anonymous in a black niqab, stops in front of a display of ancient glass bottles.
Next to one specific bottle is a placard reading “Djinn fi kuli makan.” The visitor doesn’t speak Arabic, doesn’t have to, and still knows it means ‘Genie, in every place.’ Gathering dust in a museum is a poor replacement for being everywhere.
Other visitors are about, none near enough to react in time. A hammer flashes out, smashing glass and setting off howling alarms. Shouting guards are heard nearby. A single gloved hand reaches in to the only important bottle and deftly removes the stopper; it’s easy from outside.
Smoke erupts from the bottle, far more than could naturally fit inside. People are screaming and running in all directions. The black clad figure says nothing but gives a thumbs up gesture to the cloud and vanishes for parts unknown. The smoke fills the room, roils ominously, and begins to collect itself into a human shape.
Museums are supposed to be quiet. People will be talking about this day for a long time to come.
