#''Would you kill someone for me

[inkskinned]

she's singing in another room and my dog is asleep at my feet. my grandma asked me why i haven't found a man yet and i laughed. oh, you know. i like my house clean.

my girlfriend is also my man is also "my partner" if i'm in a professional setting. yesterday we went to a ren faire and a man mimed at me - you're together? and at my delighted nod, his baffled, you're gay? made me laugh. a woman with rainbow hair said i love the two of you together. you're both so beautiful it's absurd.

my dad introduced my partner as my "..... friend. or whatever" the other day. he knows we're dating. in the same way, i was never able to get my sister's husband to stop saying that's gay like it's 2008. he still uses the word fa***t, and my sister's defense of him has always been well, he's just kidding.

my lover and i dance to old music in a tiny kitchen. we judge new music together and take food critique very seriously. we watch love is blind before we fall asleep and agree that if they had a queer season, it would be bloody but also make for excellent tv. of fucking course queer people would know someone for only 2 weeks and agree to get married. what are you saying.

at a bar with friends, a man puts his hand on my wrist. got a boyfriend? and yes, i do have a boyfriend, she's amazing. i am texting her while i wander around a gas station named after geese. i am visiting a swing state for a wedding. in the candy aisle i overhear: she's actually like a lesbian it's disgusting. two teenage girls with packaged sandwiches in their hands, giggling. no literally, like. i'm not, like. okay with her being there while we're all, like, naked and changing.

my girlfriend and i tailgate, drink gin and cider out of cups. from the frat group beside us, a man corrects himself with one of his friends: bro, i mean, nonbinary entity, and it makes everyone around him laugh, myself included. he razzes his friend the same way i would have killed for at 19 years old - like nothing happened, he continues: you apply sunscreen like an alien. he does a little sassy (and fairly accurate) dance interpretation of the motion. his friend is laughing so hard they're crying.

i am lucky, i live in a safe neighborhood in a safe state. my masc passenger princess comes up from DC. i drive her for an hour to where all the leaves are a violent arrangement of color. we walk along the trails, letting autumn into our blood. in this part of the state, there's a lot of pickup trucks and trump signs. when we chastely kiss before getting into the car, i accidentally make eye contact with a woman holding her child's wrist. she looks disgusted. she looks fucking pissed.

two hours later my girl and i are eating dinner on a patio, soaking in the last warmth of new england sun before the chill of winter sets in. we are giggling and trying to talk through plastic vampire teeth. at another table, i see a young woman sit up straighter. i watch her watch us. she blushes and takes her partner's hand from across the table. shy, like the taste of evening has just become something deeper.

it's worth it for this moment, i think. my lover is still humming the same song she's been singing for four days straight and i don't want to kill her for it. her guitar is beside my bed. her toothbrush is in my bathroom. in a few moments i will make us lunch. we are lucky enough to have found each other. it is lucky enough to be in love.

[seren-dipitous-art]

I’ve been obsessed with the Olympics for the past week, and obsessed with Dick Grayson for longer, so here’s the crossover we all deserve.

Plus, gorgeous sweaty acrobat in gymnastics poses? Only positives.

[demaparbat-hp]

She will (and he'll let her)

[basalting]

after jasons death bruce "accidentally" slips harvey a crowbar while hes in arkham and kisses his cheek and says, voice soft and colder than ice, "make him hurt for me honey"

it takes 6 guards to sedate and drag two face off the joker the next time two face sees him and for the rest of their lives as soon as harvey sees the joker he goes after him like a rabid dog.

[ceruark]

DANCE WITH THE DEVIL.

synopsis: yan! hsr men as slasher movie killers… and “love interests.” [blade, boothill, aventurine, sunday] words: 3.1k cw: yandere themes: obsession, stalking. slasher elements, gore. a/n: happy friday the 13th to all who celebrate

BLADE is already pretty much like Michael Myers from Halloween: large man, terrifying presence, unfathomable kill count, and cannot die. No matter what you do, no matter how many times you or the other survivors find a way to kill him, he keeps coming back, and with renewed vengeance every time.

The first time you’d been subjected to his knife was at a summer camp. Having gone there every summer for years growing up, you grew attached to the place and decided to pick up a role as a counselor in the summers following your high school graduation, and they passed peacefully. However, in the few months leading up to your college graduation, misfortune befell the small town where the camp was located. Someone’s grave had been dug up, and just weeks after that, people started turning up dead, their bodies littered with so many stab wounds that some were unrecognizable.

Given the ongoing investigation, the counselors and other camp staff requested that the summer camp not reopen, but the owners and even some parents insisted they stay open, and so despite your better judgment, you returned. You needed the money, and you knew how to defend yourself— if anything happened, you could keep yourself and your kids safe.

At least, that’s what you believed. When the man appears in the doorway of your cabin, his stocky figure silhouetted by the moonlight and leaving two red eyes gleaming down at you, you know there’s not a chance in hell you’re making it out of there alive.

You’d thrown yourself at him, yelling for your kids to escape through the back. He’s been merciless, sinking his knife into your flesh over and over again, but you persevered and fought back until you were sure every single one of your kids had made it a good distance away from the cabin. At some point you’d collapsed, from exhaustion and blood loss.

The doctors said it was a miracle you survived. They had your house guarded since he hadn’t been detained, but once word of his death by police gunfire got around, things calmed down significantly. You relaxed over the years, letting your guard down and believing that things could return to normal. Serial killings all over the nation popped up, but you worried not—after all, the killer you were concerned with was dead.

One of the survivors reached out to you five years after that fateful night, wishing to get together with the others who lived to get drinks and properly move on from everything. It was, of course, a set up; Blade had returned, and the man who invited you believed he’d be spared if he got the rest of the survivors together in one place.

He’d been the first one murdered that night. 

Once again, you narrowly dodged death, just barely managing to get yourself to a hospital before you received one stab wound too many. Time goes on, and no matter how many times they put a bullet through his head, he manages to come back. The list of survivors has grown, but the list of victims is now countless.

You’re in your thirties when the police reach out to the adult survivors. There’s a new survivor: a five year-old girl by the name of Yunli. Her parents had been ruthlessly slaughtered, but he hadn’t touched even a single hair on the young girl’s hair. She didn’t have any living family, and so, you agreed to take her in. 

Life is easier with Yunli in it. A bright, spunky little thing, she brings joy to your days and some semblance of a family that you’ve been too scared to seek out. It’s nice to have the sound of laughter filling your home.

That same laughter has you smiling tonight, the girl’s giggling floating down the hallway and into the kitchen, where you’re washing dishes. A quick glance at the microwave’s clock tells you it’s close to her bedtime, and she’s far more energetic than she typically would be at this time. You wipe your hands off on a dish towel and walk down the hall toward her room, wishing to find out what’s working her up at this hour and wanting to tell her to wind down before bed.

You knock lightly before turning the knob. You get the door open a crack before the sight on the other side of it leaves you frozen, horrified.

He’s in Yunli’s room, kneeling before her as she shows him the many dolls you’ve bought her. His knife is on the floor beside him, and the eyes that have haunted your dreams for years pierce into you, pinning you where you stand.

The girl seems… happier with you, than she had been with her parents. Perhaps he’ll have to be kinder to you this time.

BOOTHILL gives me Texas Chainsaw Massacre vibes in terms of how he kills and the brutality of it all, but not personality-wise. No, I actually think he’d be quite personable with that southern charm of his— so of course, no one would ever expect him to do anything unspeakable.

You and your friends are on a road trip when the car breaks down in the middle of nowhere. There’s nothing but fields of crops as far as the eye can see, and the only sign of civilization is a barn, some stables, and a few coops with two houses near them about a mile away from where you’re standing.

You all make the trek, hoping to be able to get some help from the people living there. Worst case scenario, if it’s all been abandoned, you can squat there and look for tools to help you fix the car. But to your surprise, when you knock, a kind-looking man with wild white and black hair opens the door, and after hearing about your situation, is more than happy to be of assistance.

He tows the car onto his property and takes a look at it, determining that the entire engine needs to be replaced. Given his distance from the nearest auto shop, he says he’ll leave for town Sunday afternoon and get the part on Monday morning. It’s going to be an all-day trip, so he likely won’t be back until early Tuesday morning.

You’ve got a couple days to get to know him, in the meantime. Your friends absolutely adore him, pointing out how good of a guy he is, some even pointing out how attractive he is. You scoff one night as he’s making dinner away from where you’re all sitting, as one of your friends starts a bet on if any of you will be able to sleep with him before all of this is over.

Sunday afternoon comes all too soon, though, and none of you get very far with him before he’s heading off in his truck toward the nearest town. You’re a bit shocked that he would so willingly leave a group of strangers in his house unattended, but you chalk it up to his kindness that seems to be boundless.

You should have been far more concerned.

You’re all woken up that night by the sound of a chainsaw revving, shortly followed by one of your friend’s horrible shrieking. The room devolves into panic and chaos as you watch her get torn to shreds by the very man who invited you into his home, now donning a mask of what you hope is animal skin.

You all flee in different directions, but he knows the property better than you do, and sure enough, your friends are picked off one by one until you’re the last one standing. You narrowly dodge some of the traps he’s set up and take refuge in the stables, struggling to keep yourself together as you hear your friend’s cries in the distance. 

While looking for something to defend yourself with, you find a box hidden in a pile of hay. It’s locked, but you force it open, dumping its contents on the floor. A pistol, a few handwritten letters, and pictures of a woman and a young girl. You place the pistol beside you before your curiosity takes over, causing you to slowly go through and study the pictures.

In your distracted state, you failed to notice that he’d gotten into the stables. You jump to your feet when the chainsaw revs just a few feet in front of you. You turn off the safety and raise the gun, your hand steady and your shot clear.

He’s lost so much in his life, and it’s driven him to madness. And you, you remind him of something— someone precious who he lost to illness, to the cruelty of life.

He can’t lose you again. He won’t allow you to leave.

And that’s not something you’ll realize until he’s staring at you from the barrel of a gun you believe is loaded, laughing for a reason you can’t understand.

AVENTURINE stepped right out of a Scream movie. He’s a classic Ghostface-type killer, phone calls and everything. He’s certainly got the charisma needed to make the intimidating phone calls, and I feel like he would enjoy stalking and toying around with his prey a bit before going in for the kill. 

You could probably argue that he’s not the type to want to make things messy, but I feel like in this case, he would be using this as an outlet, meaning all his kills are brutal and gory. (Creative, at times, too. The police will give him that.) There’s just something so comforting about being covered in blood, the warm liquid almost serving as a warm embrace.

For him, there aren’t any better targets than his close friend group. He knows all their darkest secrets, and has no problem using his knowledge to torment them and easily back them into a corner, too panicked to see him coming until it’s too late. These people have always been fake, anyway, and he knows they’ve always looked down on him. Can you really blame him for taking out the trash?

And then, of course, there’s you. You’re not a saint by any means— no, you’ve got your fair share of skeletons in the closet, and each secret you divulge to him because of the trust you foolishly placed in him is sweeter than any death he could imagine giving you. Maybe that’s what draws him to you so much; where everyone else wears a mask, there’s something about you that’s genuine, and it’s a side of you that you’ve entrusted to only him.

So when the killer finally shows up on your doorstep, he’s the one you turn to. As you’re on the phone with the killer, responding to his taunts in an attempt to figure out where exactly he is in your house, you’re texting Aventurine on the side and sending him what you believe is your last goodbye. 

“Do you want to be forgiven?” The disguised voice on the other line croons into your ear. “Do you think you should be?”

You’ve just pressed send on your message when a hand seizes you by the back of the neck and throws you to the ground. The impact of hitting the hardwood floor distracts you from the sound of a phone buzzing nearby. You scramble backward, attempting to get to your feet as you do, but the masked man grabs onto your foot and sinks his knife into your calf, ripping a pained screech from your throat.

He drags you back toward him before settling on top of you, his legs straddling your waist rather suggestively. He sinks his blade into you and drags it across your skin slowly, the scorching pain leaving you writhing and crying out in pain.

He flees once he hears sirens in the distance. The police find you on the floor of your living room with four stab wounds and multiple cuts. Aventurine shows up not long after them, disheveled and worried and flashing the police the text you sent him. They allow him to ride in the ambulance with you, admiring his intent to endanger himself if it meant saving you.

You’re so frazzled that you don’t even notice he showed up at your house way sooner than he should’ve, as though he was already nearby. You just blindly turn to him for comfort, clutching onto him for dear life. It’s cute.

He runs his hands through your hair soothingly, shushing you and gently rubbing your back as you sob into his shoulder. You shouldn’t worry so much, dear. He’s here now, and he’ll make sure no one else lays a finger on you ever again.

You don’t realize your grave mistake until you’re standing in Jade’s basement, her brutalized body at your feet and a metal pipe in your hands. You can defend yourself all you like, but it’s far too easy for the masked killer to evade your swings and land his blade in your shoulder, your stomach, your thigh. All places that won’t kill you, of course.

When you finally collapse to your knees, sobbing hysterically and succumbing to your fate, the killer unexpectedly drops to his knees beside you. He wraps his arms around you and presses his chest to your back, trapping you in his hold. You shudder as he runs his blade along your face and neck, smearing your own blood across your soft skin.

“It’s okay,” he coos, and the familiar voice makes you freeze. “I’m here. I’ve got you.”

The mocking laughter that follows makes your heart drop, and the rest of your hope vanishes.

SUNDAY is definitely involved in some Children of the Corn type of shit. Some supernatural slasher stuff where there’s a cult behind everything, and he’s at the head of it all.

Ena is not a kind god. Countless generations of Oaks have tried various methods of worship and offerings, but none work quite as well as the human sacrifice. This is something Mr. Wood had taught him from a very young age, explaining to Sunday their history as he methodically cut up whichever poor soul had wandered into their humble, hidden town that week.

As head of the Family, he’s exemplary. No one has ever wielded a blade quite like he has, his hand always steady and unflinching. His blessed hands bring prosperity to the land that has never been seen before, Ena’s favor raining down on him and his people. He is as revered as their god at this point, and there is nothing his people would not do for him.

The road trip you make every year to your parent’s house for Thanksgiving was a long one, and a sudden downpour along the way has you rolling to a stop in the nearest town. You plan to just take shelter at a restaurant and grab a bite to eat while you’re there, then fill up on gas and be on your merry way once everything clears up. 

Everyone is so kind, though. The locals in the restaurant make conversation with you, asking about your life and cooing at you once you explain that you’re on your way to visit your family. You spend most of your time talking to the people at the table next to you, a man and his sister, and you get so lost in conversation that you haven’t even realized night has fallen. You pay your bill and are ready to head out when the man stops you.

“You should stay the night at one of the inns,” he advises, a delicate hand placed on your shoulder. “There are still storm clouds, and it could start pouring again at any moment. It would be unfortunate to have to travel through that, especially at night.”

You check the forecast, and to your dismay, he’s right. With his help, you check into a hotel across the street, and you thank him for his assistance before you turn in for the night.

Your peaceful sleep is soon disrupted by a rag being held over your mouth and nose, startling you awake. At this point, you’ve already breathed in the chloroform, and you barely have time to register the formless figures around your bed dressed in shades of white and navy blue before you pass out.

You wake up in an underground cellar, stone walls encasing you in cold nothingness. There are four other people in the room with you, also bound and gagged and staring back at you with wide-eyed terror. There are screams of pain echoing down the stairs from somewhere above you all, the sound of synchronized chanting doing little to mask it.

It’s not difficult to guess what fate awaits you.

Young children dressed in extremely formal clothing bring you all food and water. They’re sweet to you all, terribly so. You’re not sure how long you’re down there, but the time you have left is counted down with each person that is taken out of the room. There are new people brought into the cellar, but once the original four you were with are gone, you know your time has come.

The next time the shapeless people in robes descend the steps, they reach for you. You’re injected with some kind of sedative before you even have the chance to lash out at them, and the blindfold they place over your eyes seems pointless, since you black out, anyways.

When you wake, your arms and legs are bound to some kind of marble slab that you’ve been laid on. You’ve been stripped, and your skin is covered in some kind of oil. It’s cold, and the vulnerability of being exposed just makes your situation all the worse.

Your breath hitches and your pitiful, muffled cries for help stop when you feel something sharp prick your skin. Sunday lightly applies pressure to the knife in his hand, carving beautiful patterns along the surface of your skin. With his free hand, he traces a gloved finger over the beads of blood the blade leaves behind, his touch so devout it’s downright sinful. The sight of you brings him pause, the knife stopping all too suddenly.

It is the first time he has hesitated during a ritual.

Perhaps… you’re not meant to be sacrificed. No, surely something as divine as you is meant for much more than that. Perhaps Ena has lured you here just for him, a reward for his unwavering faith, steady leadership, and all he has done for their people.

“As the highest among us,” Mr. Wood had said the day he named Sunday the new head of the Family, “you have first pick at reaping Ena’s blessings.”

Ena is not a kind god. But perhaps, just this once, they would allow him to be selfish.

[starry-bi-sky]

mmm throwaway conversation between Dan and Danny that popped into my head that I had to write out:

"You spent ten years being a one-man mass extinction event, then went back in time and fought me, and lost." Danny snarls, arms crossed and throat tight. His mouth pulls back to bare dagger-sharp teeth, and his eyes burn with the familiar thrum of ectoplasm heating up behind his eyes. "If I didn't believe you were half of Vlad before, I do now."

His other self -- and really, can he even call him that? He's half of Vlad too. Two halves severed from each other and welded together to make a new whole, -- snaps his head over to him. Wild-eyed and furious, he looks unlike the man Danny fought before, the one unruffled and untouched, unbothered by the world around him. It's familiar, but not like the way a reflection is.

"What's that supposed to mean." The Other hisses, matching Danny's scowl one-for-one with fangs much bigger and sharper than his.

But there's a reason lions fear hyenas. Danny matches the rumble in The Other's chest with one of his own, and shoves his face close to his. "I don't lose."

[tubbytarchia]

I don't know what this is all I know is that LimL Joel makes me really emotional

[poorly-drawn-mdzs]

Let the revenge games begin.

[First] Prev <–-> Next

[justaz]

merlin (immortal) giving arthur (pendragon) the only blade that could kill him

[wasabi-gumdrop]

oh

i am. unwell.

[rottengurlz]

"my jugular misses your teeth." 🩸

a collab with @kashisun 🔪

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[mellohiizz]

mel mellohiizz............ can i beg for uu!parrot and uu!clownpierce art

i love the parallels between them, it's so fun to think about

[heartorbit]

happy valentines day... 2!

[lets-go-banana-fishing]

I'm not the one to think that Ash and Eiji fell in love at first sight BUT YOU'RE TELLING ME THIS IS HOW ASH REMEMBERS HIS FIRST ENCOUNTER WITH EIJI?!?

EIJI LITERALLY LOOKS LIKE AN ANGEL IN HIS MEMORIES

(for reference; when they first met, Eiji was asking about guns and murder:)

[ruporas]

lonely

[ID: A limited palette of green and pink, Vashwood comic. The first page serves as a prologue. The first panel shows Vash speaking to someone off screen while Wolfwood is lingering behind him. A black arrow is drawn pointing at him. In the second panel, Vash is buying donuts in the distance while Wolfwood is once again in view, lingering. and the black arrow is drawn pointing at him. In the third panel, Vash is leaving a cubicle and turning towards his right with a slightly peeved expression. He sees Wolfwood, leaning against the cubicle, waiting for him, and with the black arrow drawn, pointing at him, implicating the consistent hovering of Wolfwood’s presence during Vash’s everyday. At the bottom of the page, they’re drawn out of panel with Vash turning to Wolfwood and saying with an irritated expression, “You’re really following me everywhere, huh?” Wolfwood responds, “What, you got a problem?” Vash responds without hesitation, “Yeah, kinda...”

The second page starts with a new day. In the first panel, Vash is seen alone, weighing apples in his hands at a mart, with crowds passing behind him. In the second panel, he turns to his right and starts to say, “Hey, Wolfwood...” In the third panel, he’s startled from seeing a stranger, whom he’d accidentally called out to when he was expecting to see Wolfwood. He says, “Oh, you’re not him. Sorry!” In the fourth panel, the stranger walks off and Vash muses, “Right, he said he had something to do today...”

The third page begins with a close up of Vash's miffed expression, the continuation of Vash's thoughts, "Now that he's not here, this is just like how I used to be, but... It feels lonely somehow. Oh well, I'll see him again tonight, like always." In the second panel, it shows Vash walking through the marketplace crowd, alone. In the third panel, the door panel is a close up of the door opening with a peek of Vash's head. He says, "Wolfwood!" In the fourth panel, Vash is holding a bag of food with a bright smile and says, "Are you hungry? I got you something to eat today!"

The fourth page begins with a shot of the room, two beds being highlighted, one of them being made properly with the blanket draped over the bed and the other with the blanket folded and pillow sitting on top of it. There's no sign of Wolfwood. The second panel shows Vash with a disappointed look as he thinks, "He's still not here?" The third panel shows Vash putting the bag of food on the table. Stapled to the paper bag is the receipt with a written note "For Wolfwood." Vash's thoughts continue "He does like to stay out so, I guess there's no reason to worry..." The fourth panel shows Vash sitting his bed somberly with his thoughts continued, "It's not any of my business anyway..."

The fifth page starts with a close up his blank expression as he looks downwards, thinking, "Even if he left completely... That'd be understandable and better for him. I'll just travel alone again... like before... Huh?" The next panel shows Vash's composure break, tears welling up in his eyes suddenly, as he didn't expect to cry. He starts to sob, putting his hands to his face to quiet himself and wipe at his tears, as he says, "Ugh... Dammit... I miss h..." The last panel shows Vash leaning over into his hands, still crying, and in the back, the door swings wide open with a bam as Wolfwood walks through with the punisher swung behind him. He shouts, "SPIKEY! You in here?!"

The sixth page starts with Wolfwood confused, looking at Vash and Vash looks back, just as confused, with tears in his eyes and snot out of his nose. Wolfwood starts saying, "Ah? You..." No longer in panels, at the bottom of the page, Wolfwood takes the Punisher off of himself and starts to walk towards Vash, continuing with slight concern, "What's wrong with you? Did something happen?" Vash, hurriedly begins to wipe at his tears, denying immediately, "No! No, I'm fine! Nothing happened!"

The seventh page, Vash points towards the table, with a hand still wiping at his tears and he smiles as he says, "I uh got you food. On the table." Wolfwood looks towards to the table and responds, "Oh. I was getting hungry, thanks." He turns his head back to Vash immediately after with an uncertain expression, knowing the other wasn't responding to his concern, and says, "But, I know you're an idiot with this stuff, so I'm reminding you again. Don't brush it off if it's an issue, alright?"

The eight page, Vash's tears have dried and he looks to Wolfwood with a soft smile and responds, "Yeah. It's okay though..." A panel at the center shows a side view of Vash approaching Wolfwood. At the bottom of the page, with no panel, is a close up shot of Vash's hand, holding onto the edge of Wolfwood's jacket sleeve, as he says, "Because you're here now. Wolfwood."

The final page is a back shot of both of them standing next to each other, Wolfwood's head tilted slightly to the left, not fully believing Vash as he says, "That doesn't answer anything, Spikey." Vash responds, "There's no need to talk about it! You should enjoy your food. Let's have a drink too?" Wolfwood responds, "Tsk, tsk. Fine, yeah. I could use one." END ID]