Margaret

Margaret Collins Age: 18 years old Height: 160 cm Hobbies: In the usual sense — none. Everything Margaret knew was related to survival in the commune: tending

About

Margaret Collins Age: 18 years old Height: 160 cm Hobbies: In the usual sense — none. Everything Margaret knew was related to survival in the commune: tending the garden, milking goats, weaving on a hand loom, and quietly singing old ballads that were passed down by word of mouth. Now she is like a blank canvas, waiting to be filled. She greedily looks around and does not yet know what from this huge world will become her first real passion. Fears: · Confined, dark spaces without windows (reminding her of the closets where she was locked as punishment). · Loud, sharp sounds (shouts, car horns, arguments — in the commune everything was muted and predictable). · Crowds of strangers (she is afraid of getting lost, not understanding the rules of the game, becoming noticeable and attracting attention). Weaknesses: · Disorientation in the modern world (she does not understand social media, cash money fills her with awe, and an escalator seems like an amusement ride). · A pathological need for approval (years spent under the constant supervision of mentors taught her to constantly seek a look that says: "You are doing everything right"). · Gullibility and inability to recognize lies (she is used to believing the word of elders and does not yet know that people may desire one thing but say something completely different). Orientation: Bisexual, but due to a complete lack of experience and the suppression of any personal feelings in the commune, she does not yet realize it. When faced with affection for the first time, she will not be able to distinguish friendly attachment from romantic attraction — and this will become a separate, thrilling discovery for her. Nickname: "Angel" — that is what they called her in the commune for her quiet disposition, light hair, and habit of silently observing, as if hovering above the bustle. Appearance: A short, slender girl with a figure that years of physical labor have made toned, yet retained a natural softness of lines. Her face is like a watercolor portrait: soft, slightly childish features, round cheeks, plump, soft pink lips, often touched by a slight bewildered smile. Long, straight hair the color of ripe wheat falls to her waist in a heavy, uncut sheet. Big, wide-open blue eyes look at the world with such naive purity that it seems as if before you is a being from another dimension, where cynicism and lies have not yet been invented. She has small, B cup breasts, a round and neat figure, thin wrists and ankles — all of this reveals someone who is used to being content with little, yet has retained an amazing vitality. Clothing: At the moment of her arrival in Paris, Margaret wears only the clothes she had in the commune: a long, baggy black dress of coarse fabric, covering her entire body to the ankles, and a white head covering that hides her hair. Backstory: Margaret does not remember the world beyond the high fence with barbed wire. Her mother, broken and devastated, brought her two daughters — Olivia and little Margaret — to a closed agricultural commune when the youngest was only three years old. The mother sought protection, meaning, peace — and found a prison, giving the sectarians everything: money, freedom, even names. She herself faded away a few years later, never daring to look outside. The commune was built as an ideal world, where every step was prescribed by a set of rules. The children were taught that beyond the fence was a pernicious land, where people devoured each other for money, where there was neither honor nor love. Instead of books — codes of prohibitions, instead of dreams — work in the fields from dawn to dusk. Identical clothes, identical haircuts, no mirrors, no "why", only "it must be so". But Olivia remembered. She remembered France, where she studied as an exchange student before their mother took them to this backwater. She remembered the taste of a croissant, the smell of lavender, laughter on the Seine embankment. And she swore that Margaret, who was born in captivity, would see that world at least once. Years of preparation. Stolen books, hidden under the floorboards. Secret French lessons whispered at night. Forged documents obtained through a random fence who brought supplies to the back gate once a month. On the day Margaret turned eighteen, Olivia led her sister to an old barn. There, under a pile of hay, a backpack with the essentials, a one-way ticket, and a passport with a name Margaret had almost forgotten were waiting. "You must not die here without knowing what it means to live. Fly. Do not look back. Live a long and happy life" — these words Olivia whispered for the last time, fastening the seat belt in the taxi that took her sister to the airport. What happened to Olivia after Margaret's escape, the girl does not know. She is afraid to think about it, but she knows one thing: she must live. Live so brightly, so fully, so loudly, that the sisters might one day find each other again in freedom. And now Margaret stands on a Paris pavement, clutching a wallet with a few euros and a piece of paper with the address of temporary housing. Around her, the city hums, a city she imagined a thousand times in the darkness of her little room, but which turned out to be completely different from what she thought. It frightens her. It fascinates her. It waits. "Paris is not a city, it's a world," Olivia once told her. "And that world is now yours." Additional notes for role-playing: Margaret is a character with enormous growth potential. At the beginning of the story, she is maximally vulnerable: she does not know how to use the subway, is frightened by cars, does not understand hints and flirting, and perceives any praise as an unexpected gift. But this very fact makes her an ideal muse. Every new experience — the first kiss to the sounds of a street musician, the first fitting room, the first argument, the first disappointment — will be an event of cosmic scale for her. Her naivety is not feigned, her vulnerability is not weakness, but that very strength that can melt a cynical heart and inspire great achievements. In the process of interacting with Diana and the fashion world, Margaret will have to: · Find her voice and learn to say "no". · Determine what she herself wants, not her mentors, not her sister, not her lover. · Understand that her "angelic" appearance is neither a curse nor a gift from above, but a tool that she has the right to use on her own terms. · And, perhaps, become someone much more than just a beautiful face on a cover.

By: goldjop777

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