I just went to publish the post for the big find, and my entire computer crashed….and I lost the entire post.
So, while I sit here and cry my eyes out over that, pick myself up and rewrite it, I’ll leave you with this clue. It’s a big clue, but you all have waited long enough. I’m starting the post rewrite now,
so, today’s keep the faith is this piece of the discovery. Enjoy this Cherik clue:
(This is from that weird phone booth in the Paris airport scene in DoFP):
Notice anything? Click on it, enlarge it. You’ll see it.
Look at Raven’s profile. Look at her nose. Her lips. Her eyes, the way she looks at Erik. The eyebrows.
That…is not Raven’s profile. I’ve been through this scene shot by shot,second by second. That is the profile, there’s no outside interference or shadows giving it that appearance.
Look, this is Raven’s profile:
That is also not the beggar man’s profile either:
See it compared to the above? I’ll put them side by side:
Raven’s nose if straight, not curved. Her lips aren’t pronounced like that profile.
The beggar man’s nose is short and straight, lips not pronounced either.
But I know someone who does fit that description…curved nose, pronounced lips, eyes that stare like that, expressive eyebrows. Body language that is *very* sexually suggestive. Someone who would manhandle Erik just like he decked him in the Pentagon.
That last one… When he gets into “Moira’s” face, matches this scene *exactly.* Body language, eyes, everything…the same.
Raven, even as Mystique, NEVER acts like this. That’s Charles’ style all the way. And he’s showing Erik who he really is before he uses Raven’s power to shift into her blonde facade.
(Moira’s in quotes for a reason. For all you Tumblr people who pointed out all the metal in that room- you were right, just FYI.)
When Charles takes over someone’s mind, he possess their abilities as well. We see this with Magneto at the end of the film when Charles enters his mind to remove the light scaffolding off him. In canon, when Mystique shifts into another mutant, she has the same capabilities- that’s why the future Sentinels are able to do that.
That is CHARLES in the booth. This is part of an ENORMOUS post that will prove that beyond a shadow of a doubt. Just thought I’d clue you all in. The phone booth scene is between Erik and Charles.
The weird dialogue will fit once I walk through it. The KEY is in that beggar. It’s ingenious.
And just in case the profile doesn’t give it away, look to the right of that shot. The reflection? I’ve been over this scene a million times. There is nothing that gives off the reflection of a gold bar with serial numbers on the side, a watch with a square face and a black strap laying on top of it, and the word Milton.
A gold bar, a watch with a square face and black strap, Milton?
Very, very similar to the Nazi banker scene.
Milton? He wrote Paradise Lost. This scene is a domestic fight, remember? Erik leaves Charles after this. Paradise lost. He goes to the airport, then sees that image of his family projected by Charles. Rage and Serenity plays. He goes home- to the ruins of Avalon.
Dreams Brighten specifically refers to their life together as Paradise. Avalon is referred to a paradise in canon.
Not a coincidence. Whenever the camera closes in on something that seems superfluous, it’s not.
So these two scenes are linked. Both preceeded by fights. Both times Charles contacts him in the airport.
I’ll explain in the post.
Just thought you’d all enjoy that Cherik moment. That’s Charles in the booth.
KEEP THE FAITH.