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[sparkgarage-doorandgates]

Garage Door Motor Installation

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[lovebillyhargrove]

Part 3 of Billy knows his limit Part 2

Steve knows he can be a coward. He's fought monsters and gone through hell and back but he can still be a fucking coward.

Just like that time, at the Byers' when he first saw the lights flickering and unbelievable shit happening right in front of his eyes, he ran. He was terrified. The instinct told him to get out of there, and he did.

Steve knows he can lose if he's fighting fear. It's possible.

That's the reason why Steve ignored Hargrove on the following Monday after jerking each other off in Tommy's bathroom. Steve had wanted to touch this popular Californian asshole for months, get his hands burnt a little on the hot unfamiliar sun, and it happened so that the stars aligned - he crossed Billy's path, took Billy's hand.

And Hargrove followed.

Did Steve want to do it again?

God, yes. More. More.

Did Steve approach Hargrove in broad daylight in front of the whole school knowing what they did?

He didn't. He panicked and he didn't and maybe he shouldn't have led Billy to that bathroom in the first place.

Steve laced up his Nikes and ran.

Steve'd wanted to touch Hargrove for so long, but after he did, the level of magnitude with which his usual beliefs and ideas were shaken, terrified him. Left him running for his life.

But only. The secret that they shared. It was scorching him. Wasn't letting him be.

Steve did come back to the Byers' that night though. Couldn't leave Nancy and that weirdo in trouble.

~

This Sunday Steve wakes up and goes to the garage. His parents are in their apartment in Indianapolis. As most of the time. He slides the door up, and there it is - the gift his father bought to himself for his 45th birthday

the red 1983 BMW r65. His dad spent a fortune on it. And it is,

A beauty. Steve's sliding his palm over the cool fuel tank and the soft leather seat.

Yeaah

His father would have a fit if he knew Steve's even looking at it.

"No, son, you cannot ride it. You don't have a proper driving license for that. You are absolutely not allowed to ride it and you cannot touch it."

Little did he know, but Steve could, in fact, ride a motorbike.

Indianapolis was only 70 miles away from Hawkins. In summer of 1984 Steve went to Indianapolis to take motorcycle classes. Hawkins was too small to find those. He dropped it the moment he understood he could ride a motorbike without being a major road safety hazard, and since then he couldn't help but take the BMW out for a ride a couple of times. Or more than a couple. Dad didn't have to know.

His father practically never rode the bike himself. He was seldom in Hawkins, didn't have the time. The bike was like a valuable possession, treasured and abandoned in the garage. Stood there all alone.

Was kinda unfair, in Steve's opinion. So he kept it company.

It's the last week of school. Tomorrow is Monday, their last basketball practice.

Steve's gonna skip it.

No more hiding.

~

After dodging practice Steve got into his beamer and drove home. Took a 5-minute shower, changed his clothes, put on a light jacket, went downstairs and slid the garage door open. The BMW was already waiting for him. He took care of it yesterday, checked if everything was okay. The black helmet was right there on the shelf. He didn't have the second one, but who knew if he would actually need it. His plan could go sideways and end up in a crash.

~

Steve slowly pushes the bike outside and closes the garage door. His palms are sweaty and his heart is racing. Fuck, it's worse than any of his prior little adventures. It feels too big, and it certainly doesn't feel like an adventure. Steve's as serious as a heart attack. He's gonna have one, soon, if his heart doesn't slow down. His breath catches in his throat, and he hasn't even got to the school/best part of it yet.

He gets on the bike and turns the ignition key. The engine comes alive, and its rumble sends a thrill down Steve's spine.

Nah. Hargrove won't be able to resist this baby. He doesn't stand a chance.

When Steve gets back to the school parking lot, the first thing he notices is that the camaro is still there. People are starting to spill out of school. It's the last week of studies, and there's an undertone of excitement to everything that's happening.

He parks the bike not far from Billy's car, gets off, takes off the helmet and leans on the bike, waiting.

Steve's heartbeat becomes too loud when he sees Hargrove go out of the school building. He's afraid his legs are gonna give in and he's gonna fall down together with his fancy BMW and make a sight out of himself. What the fuck is happening, has he never been after a girl before? He has, but this shit's a million times more intense.

The heart beats and beats and beats and then stops when he feels Hargrove's eyes land on him.

He's read it in books and seen it in the movies. When two people are surrounded by a crowd, but they say "the world stops turning" and the two people only see each other, only have eyes for each other. The world didn't stop, but it definitely became slower and the time seemed to turn into some kind of a viscous syrup that takes forever to pour out from a narrow-neck bottle.

Steve's heart is pounding in his head again and Hargrove's looking as if not sure what to do, as if he's still figuring out if this message is meant for him. It's obvious he wants it to be for him.

It's a cliché, but they are standing there like they are alone in the parking lot. In the universe.

It's a cliché, but now Steve knows that the cliché is real and so true.

Steve smiles.

"Hey Hargrove!"

Billy snaps out of it, comes up to him, slowly

"Nice ride, Harrington."

There's no bite to it. Steve feels the envy though. Billy's just a boy who likes cars and bikes and anything fast. Except, maybe .. kissing? Steve wants to find out so bad.

"Yeah, not bad, huh? That's not mine though. My dad's. But I thought, why not, you know .. take it out for a spin?"

Billy's checking out the BMW. He's gonna say yes, he can't resist, it's too much of a temptation.

"You should. Do you know how?"

"Yep, I do. Took classes and shit. You like it? I can give you a ride, if you.. want."

Billy's eyebrows rise just a millimetre

"Oh yeah? I have my own wheels, Harrington."

"I know, but I figured .. we could.. Max has her AV club till 4, right?"

"You know the brats' schedule better than me."

"I could drive you around, go to the quarry. Or to .. a lake."

Billy snorts

"A lake, Steve?"

"Yeah. Lovers' lake. Ever been?"

"Maybe. And I'm gonna, what? .. Sit behind you like I'm your bitch?"

Steve's blushing.

"More like my.. partner in crime? My dad will kill me for taking his bike. But.. bitch is also, uh. An option."

"Wow wow wow, Harrington. In front of the whole school, no less. Everyone's looking, King Steve."

Everyone is looking.

"I uh.. I don't give a fuck. Let them look. Okay it's not like I'm gonna be running around telling everyone I've held your dick.. and not because I'm ashamed or anything. It's because.. that's only between me and you. But I'm also not gonna act like a stranger around you. And .. I was stupid for acting like that, Billy. I know you're angry."

Steve takes a deep breath. Billy's silent. He can feel the I'm sorry written all over it.

"You want the truth? I'm still afraid of you, Hargrove. Scared shitless, if I'm honest. But I'm done hiding. So .. if you're still uh .. interested.."

Steve falls silent too. They are looking into each other's eyes and Steve can swear he feels the time stop. Just like they say it does. It's Billy who breaks the gaze, eyes cast down for a second, smiling quietly more to himself than to Steve, standing there in the Hawkins High parking lot, so unspeakably beautiful under the warm late spring sun rays.

"So.. Lovers' Lake, pretty boy?"

[haruhar-u]

the first chapter of that book thing I’m talking about

CWS for this chapter: None

CWS for the series:

Series summary:

Falling From The Stars is about the band Ametrine’s rise to fame and their fall from it.

A/N: wrote this in February so the writing style will be slightly different

Beta read and edited

That’ll be 12.50.” An obviously overworked woman who looked like she worked multiple jobs by the look of her eye bags says from behind the counter. 

   I rummage in my jeans pocket, pen cap without a pen, crusty pennies, old candy wrappers, then finally crinkled 20 dollars bill. I must’ve looked like a disorganized train wreck to any passerby. Luka you’re 22 put yourself together. You probably look like a fucking train wreck. I put the 20 dollar bill onto the counter and the overworked woman hands me the food I ordered.  

   “Uhm keep the change.” I say just loud enough for her to hear. This was my friend’s dad’s  restaurant, I want to help out somehow. 

The food felt warm in my hands as I walked through the busy streets of Manhattan. There was a mix of tired locals and overly excited tourists.  Then I drove about 5 minutes back to my apartment to give my fiancé the food I brought. 

 He’s so studious that he barely takes care of himself enough. I went up, opened the door and threw the leather pouch I carry to the side. 

“Oh hey Luka.” Rui glances up from his work, eye bags quite noticeable (probably his pharmacist school stuff) then looked back down and continued working. I lean over him to take a look at what he was studying, his jet black red streaked hair was greasier than ever. Do you even wash it anymore?. He had recently overworked himself to the point where he caught a cold. He still wasn’t fully recovered, I could tell from him sniffling and the amount of tissues he had surrounding him. It was exhausting looking after him then to say the least as he would never stay in bed without study material for more than 5 minutes.

I put what I had brought him on the table. “I think you should take a break and eat, plus you’re still sick aren’t you?” 

“I’m fine, I swear, thanks for the food I guess.” He doesn’t even look up. His voice sounded deeper which usually is a tell tale sign to attempt to convince him to go to bed early tonight. 

“Explain the tissues.” 

“I just still have a runny nose.” 

I nod, I guess I believe him, his explanation lines up with the timeline. I just hope he learns that A grades aren’t everything, because they aren’t. My friend Tian basically lives by that saying. I think should point out that Tian and Rui are pretty much opposites when it comes to that though. 

 “I think I should probably head over to Micah and Tian’s. I told them I’d be there at noon and it’s half past now.” 

“Alright, bye. Love you.” Rui mumbled, again not glancing up. 

“Love you.” I gently placed a kiss on the top of his head, grabbed my small leather pouch —which I keep important stuff in such as my keys, inhaler, credit card—  and headed out.

*･゜ﾟ･*:.｡..｡.:*･'･*:.｡. .｡.:*･゜ﾟ･**･゜ﾟ･*:.｡..｡.:*･'･

I pull into their driveway. It was a pretty nice house, a garage where we keep our instruments, decently sized, 4 bedrooms and 4 bathrooms I think. Micah brought it when he was only 18. I’ve always wondered how the hell he was able to afford it right out of high school and after moving from Australia to New York City. Then again I presume he’s quite rich from his posher Australian accent, one of the ones that sound almost British. 

Tian moved in with him 2 years after Micah originally bought the place and I think Micah likes the company since he seems a lot happier now. 

I walked up the front door and opened it with my key. To us it wasn’t weird that I had their key and they had mine, it’s like when you’d give your key to a close relative. The house was half messy and half clean due to Micah messing up the house and Tian’s attempts to clean up after Micah. I walked into their garage where we said to meet. 

Micah looks up at me from tuning his bass. He had his shoulder length hair dyed amethyst purple which was different from his previous colour “You’re a bit late.” I was almost an hour late. 

I sheepishly ran my hand through my hair, embarrassed. “I had to run an errand.” 

“Ah! Understandable, have a nice day!” Micah had that goofy grin on his face that he was quite known for. “Also you forgot your guitar here since last time” 

“Oh that's where it was. Also, did you dye your hair again?” 

“Mhm. I thought the amethyst colour  would suit the band since it’s called Ametrine” 

“It suits you, also, where's Tian?” I glance around the garage, his drum set was still there. Wait no that’s stupid he wouldn’t carry that thing out, he wouldn’t even attempt it, he’d rather leave it here and play video games upstairs later. 

“Hmm.” Micah puts a hand on his chin, “probably asleep behind his drum kit. I think he was playing Valorant all night. Wait,  actually I think I heard him aggressively drumming along to Chop Suey at 3 am. ”  He then put his bass back onto its stand. 

  Both of us looked behind the drum kit to see Tian  sitting on a pillow, playing something on his Nintendo switch with noise cancelling headphones.

“Tian!” Micah calls as a weak attempt to get Tian’s attention. “Tian Wu!” He even attempts using his full name as if that’d change something 

Somehow that works and Tian looks up at Micah, “What is it Micah Torres” he said with a smirk, probably deciding to humour Micah using his full name. “Oh, Luka’s here.” He nods his head as a greeting which I nod back. “Give me a sec. Gotta save”

“Luka, I tuned your guitar for you already, fyi. Thank me later!” Micah tells me, literally saying FYI. 

“Alright, thanks. I’ll tune your bass for you  next time.” 

Micah put a hand on my shoulder and grinned again. “No worries! Run your errands instead!” He grinned again. 

“Are you sure?” I felt like I was in debt to him. He definitely didn’t need to tune my guitar for me but, he did anyway.  

“Yeah! Of course mate!”

“Alright, are we just jamming today or recording a cover?” Tian asks, standing up then plugging in his switch which he had in the corner.

“Uhm..” Micah goes over to the wooden table in the corner and grabs a black notebook off of it and flips to a page somewhere in the middle “We have Under Pressure on our cover list, Luka do you think we’re ready to record yet?

“Hu-huh why are you asking me!?” In my opinion just because I’m the lead vocalist that doesn’t mean I get to make all the decisions. I was texting Tian earlier and we both agreed Micah has the best judgement out of the 3 of us and should be leader anyway. 

 “You’re our front man and lead vocalist. That's why!” Micah declares, handing me my guitar and picking up his bass again.  “Also, Tian what is ‘Those Three Words Unsaid’? You wrote it under ideas.”

Tian turns slightly red in the face, “Oh it’s nothing really…I uh yeah.” He glanced the floor and wouldn’t even look Micah in the eye.  “I uh I-I was drunk when I wrote that.” 

“Uh huh.” Micah’s expression shows he’s quite skeptical (Tian doesn’t drink) however I think he could probably tell Tian was uncomfortable with answering, and decided not to question him any further  “Luka? Your thoughts on whether we should record or not?” 

I attempt to remember what our last practice sounded like I can’t completely remember, thanks to me having the same memory as  Dori the fish. “I suppose we should practice it once and see where we’re at from there.” 

“I don’t think we should record today.” Tian pipes in. “I mean I’d have to bring down the camera and all the mics from upstairs and then we’d have to repeatedly reshoot to get it perfect , I also don’t think I got the drums correctly yet.”

I nod in agreement, “I think our 300 YouTube subs  can wait a bit.”  I’m fine with just our 300 subscribers, they didn’t really comment other than the occasional thumbs up emoji usually from Micah and I’s parents . I can tell Micah on the other hand wants the attention, he wants to be famous and he wants to perform for large crowds he deserves it too, meanwhile I feel like I’m holding him back, he’d be able to live out his dream if he wasn’t stuck with me, but oddly I can’t bring myself to leave either. 

“We could run through a few songs then go out to eat or something?” Micah suggests

“Sure, where?” I ask

“How about Tian’s dad’s restaurant. Maybe Tian can get us a discount.” Micah chuckles 

“No. I uhm I had too much Chinese food recently…” Tian responds nearly instantaneously. This usually happens whenever his dad is brought up. I don’t bring up his dad anymore because of it.

“The last time you had non-western food was when my Abuela came over from Australia and made you tamales. That was a month ago.”  Micah points out

Tian looks up at Micah with widened eyes  like a puppy begging for a treat. “Maybe she can—“ 

Micah laughs “Abuela went down to Mexico to visit more relatives so no, she cannot come over and cook for us. She did tell me she thought you were a very nice boy, so I think she’d be willing to cook for you again though.” 

Tian looks dejected once Micah says his Abuela cannot come over and cook but perks up again after he said she’d be willing to cook for him again. Typical Tian, on occasion he acts a lot  younger than his age from what I noticed anyway . “Can you tell her I think her cooking tastes very good.” 

“Yeah sure! I’ll ask her if Luka can come  next time as well!” 

“Also, Luka, do you think Rui would want to join us tonight?” Tian asks

“He already ate I think, plus exam season is coming up so he’s been shutting himself inside. Hikikomori as his siblings call him.” 

“Wish him luck for us!” Micah says. 

I nod. “I think we’re getting off topic now.” 

Micah laughs “Shit.” 

Then without any communication we start to play, we mess up more than once, Tian missing a beat, my voice not getting as high as I need it to be —in my defence I didn’t warm up—. Hours fly by like minutes as we were getting off track and instead of practicing only Under Pressure, we play an assortment of songs such as Clumsy, Lithium, My Hero, Famous Last Words, S/C/A/R/E/C/R/O/W  and Somebody told me. It'll be a miracle if my throat isn’t sore tomorrow, since I didn’t warm up at all. 

“Can we stop to get some food..” Tian’s  the first one of us to speak up. 

“Actually, I think we should stop for the night, Luka could injure his voice.” Micah points out, agreeing with Tian. He probably knows that I wouldn’t speak up for myself otherwise.  I feel like I’d be letting them down if I did. 

I nod and put my guitar back in its case with my amp right next to the case, making a mental note to bring it back home and not just leave it here again. 

“I’m going to order a pizza.” Tian mutters, pulling out his phone from his bag, then glances at Micah who gives a thumbs up and gestures somewhere  for some reason. “Pineapples or no, this is very important.” 

That turned into a whole debate between Micah and I over pineapples or not. Pineapples do great on pizza, I have no idea what he’s talking about. Honestly that was the stupidest debate I’ve been in ever. I stay over at their place, (Micah and Tian just got Just Dance, how could I say no to that even though I absolutely suck) until about midnight. 

Tag list: @xen-blank @edith-is-apparently-a-cat @krenenbaker @the-banana-0verlord

[ritualoftheancients]

Ritual of the Ancients Chapter 5: The Paranormal Creature Alliance

by Roan Rosser

This is a chapter of a complete vampire novel with a trans-masc main character and a gay romance subplot. New Chapters are posted every Sunday. If you like the novel and want to support the author, ebook and paperback copies can be purchased here.

~~~~~

The slowing of the car as it got off the freeway bumped me awake. I hadn’t meant to fall asleep. I sat up and rubbed my eyes, inadvertently dropping the T-shirt from my face onto my lap. We were on Highway 30, heading north. The trees of Forest Park on the left were nothing but dark blots, broken occasionally by the glow of street lamps.

I glanced in the back seat. Emily sat with her knees pulled up to her chin and her arms wrapped around them, staring silently out the driver’s side window. That damned meditation piano music was still playing. The clock said 4:45 AM. I glanced at the sky, but it was still pitch black outside.

The St. John’s Bridge became visible in the distance, the lights on it combined with the dark void that was the river far below made it look like it was a bridge through space, leading to the stars. However, instead of continuing on, Jack took a left at the light before the bridge turnout, into the parking lot of a car tow business just south of the bridge. It was a long, narrow lot that ran north to south, bordered by Forest Park on the west and Highway 30 on the east.

I’d seen it from the bus before, but hadn’t really noticed it before except to wonder why it had its own stoplight.

“I think they’re closed,” I said after Jack stopped at the closed chainlink fence that blocked off the parking lot from the traffic on the highway. There was just enough space between the fence and the road for his car to not be hit by the sparse southbound early morning traffic on the highway.

Jack shot me a half-smile and reached up to press the button on a garage door opener attached to the visor. “Are they?” The gate began rattling slowly open, rolling to the side parallel to the rest of the fence. Jack drove in once there was enough space for the car. After we were inside, he pressed the button again and the gate closed behind us.

He drove past a dark building that had the logo of a tow company on the glass door, and turned down a gravel path that ran between the two lines of wrecked cars that ran the length of the lot, bordered by the highway on one side and the trees of Forest Park on the other. A chainlink fence topped with barbed wire encircled the lot.

Jack said, “The tow business is a cover for our offices. Handily explains all the traffic in and out, and provides some income to keep us going. Not like we can exactly get government funding for supernatural social services, and the fines from tickets only cover so much.”

“I hadn’t considered that,” I said.

When we reached the middle of the line of cars, Jack made a hard right turn, squeezing through a space between two of the cars. Jack slowed down, but kept driving.

“Stop!” I yelled, pointing at the fence.

In the back, Emily shrieked, and I was tempted to join her, but instead reached out and grabbed the door, bracing myself for impact as the car’s bumper reached the trees. The cheap plastic cracked under my grip.

However, rather than crashing, the car kept going. The image of the fence and trees in front of us wavered like a heat mirage before vanishing. The crunch of gravel under the tires was replaced with the smooth feel of asphalt. I blinked, and Emily’s scream trailed off.

Jack laughed uproariously at our reaction. If I could have pried my hands from the door handle, I would have been tempted to punch his arm. “Best part of bringing newbies here.” Jack chuckled.

I twisted around to look behind us. The illusion of the trees was back in place, making it look like the road appeared from nowhere. Even the light filtering through from the tow lot’s floodlamps showed shadows from the illusionary trees. Despite the fact that I was now a vampire and had met both a real life werefox and werejackal, I hadn’t ever considered that might mean magic was real too.

It was pitch black. Trees lined both sides of the single-lane road which, combined with the car’s headlamps, turned the road into a tunnel through the dark. We drove for another few minutes up the hill. The road took a sharp turn around a switchback and then a red brick building came into view, lights blazing from the windows around the closed blinds.

Jack pulled up and parked along a line of cars at the side of the building, then turned off the car. “Last stop, everyone out.”

“Where’s this?” Emily asked sharply from the back seat.

“A safe space, like I said.” Jack got out of the car. “Come with me. Both of you.”

I got out, walked around the car, and stood near the trunk. Jack got out and opened the driver’s-side rear door to help Emily out. She shook, leaning heavily on his arm.

“The first transformation is always the hardest,” Jack said, shutting her door behind her. He nodded his head to me and said, “After you.”

I shrugged and walked around the building to the front door. Jack and Emily stumbled along more slowly behind me. The unmarked doors were made of thick steel. I tugged on them, but they didn’t budge.

A speaker next to the door buzzed and a crackly voice asked, “Who the fuck are you?”

“Jack brought me,” I said, glancing around until I spotted a camera above the speaker.

“He’s with me,” Jack said as he and Emily came up the steps behind me.

The door pinged and the lock clicked open. I pulled the handle and held it open, waiting while Jack half-carried Emily through, then followed them inside.

A young man looked up from the receptionist desk. A screen to the side of him showed a view of the front porch. “Jack, took you long enough. You call in late, then one fox call that should have been an hour job at most takes you all night, and then you come back with two people? Boss is pissed. She wants to see you, now. Hope you have a good explanation for it all.”

Jack sighed and nodded to the man. “All right, let me just get these two settled first, Dave.”

Dave shrugged and spun to the side, bending over and going back to watch his monitors.

“This way.” Jack pushed through a swinging door on the wall to the left of the reception desk, carrying Emily with him. I followed him.

This room was set up like a living room, with a couch against the far wall that was flanked by two plush reclining chairs, and a small coffee table in front of them. The wall opposite the setup had a counter with dorm-sized fridge and a coffee station. Another door exited the other side.

Jack set Emily down on the couch, and I sat on one of the chairs. Jack went over to the fridge and pulled out two Gatorade bottles. “Drink those.”

He tossed one each to Emily and me. Like earlier, time seemed to slow as the bottle flew towards me. I caught it easily, twisted the cap off, and took a big swig. This one was also like drinking rotten fruit. I gagged and almost spit it out.

“Nasty. This is the same, awful flavor you gave me in the car.” I made a face and looked at the label. “What the? This is my favorite flavor, or at least it was.” I made a face and put the cap back on.

“I know it tastes bad now in your new state, but drink it. The nutrients will help hold off your thirst.”

Jack turned to leave back the way we’d come, but then glanced at the clock on the wall above the couch and cursed. “No, wait, we don’t have time. Emily, you wait here. Everett, you come with me.”

Sighing, I stood up. Emily still looked scared, her eyes still red-rimmed yet dry, but she nodded. Jack turned around and went over to the other door out of the room, pulled out a key, and unlocked it.

“This way.”

“Why’s it locked?” The room on the other side was tiny, more of a hallway than a room. Two doors were on the far wall opposite the one we’d come through, and a third door was to the right.

“More to protect the people in the waiting room from wandering in here than anything. In here.” Jack unlocked the leftmost door and opened it, gesturing inside.

The room, more like a closet, had two camping bunks with trunks pushed underneath, a rickety old wooden nightstand between them, and nothing else. Not even any windows.

I sighed and glumly contemplated the cots. “Really? Camping bunks? I thought vampires slept in coffins.”

“Nothing is stopping you if you want to get one, but other vampires will make fun of you.” Jack put a comforting hand on my shoulder. My heart jumped into my throat at his touch, warm and comforting. “I know it’s not much. If I’d had more time I could have gotten you put up in one of our safe houses, but it’ll have to do for tonight.”

“It’s—it’s fine,” I stuttered over my words as his hand slid off my shoulder. I sidled further into the room and turned to face Jack. The events of the night were starting to catch up to me and hugged myself tightly, closing my eyes to stop the tears that I could feel threatening me.

Jack stepped closer, bending over and wrapping his arms around me in a loose hug. “We’ll get to the bottom of this, I promise.”

“Thank you. But what now?” I stifled a sob and hugged him back, overwhelmed by the events of the night. He was warm, and I could hear his heartbeat pounding loudly near my face. My senses seemed sharper, my hearing better—or I was imagining also being able to feel each beat of his pulse against my face and arms.

“You are going to stay in here and get some rest. I’m going to go talk to my boss.” Jack’s arms squeezed me briefly, and then he let go. He put a hand on my cheek, giving me a sad smile that I couldn’t read before stepping back. I missed his comforting warmth already, and had to stop myself from trailing after him.

“And in the morning?” I asked, grabbing my arms with my hands to keep from reaching for him again.

A corner of Jack’s mouth twitched. I realized what I’d said and blushed.

���Vampires don’t really do mornings. I’ll be back for you this evening, and we’ll talk about next steps then.” Jack started to close the door. “Oh, there are sheets and pillows in the trunks under the beds. Don’t leave this room until I come to get you. The sun comes up soon, and this room is light-proofed.”

Jack closed the door, and the lock clicked.

I made the bed, got undressed, and lay down. I twisted and turned on the uncomfortable camp cot, trying to get to sleep. I was so thirsty it hurt. Choking down the rest of that Gatorade hadn’t helped much, or at least not as much as the first one had.

For a while I lay there, eyes closed, concentrating on feeling the sunrise, but I didn’t feel anything except my dry throat and rumbling stomach.

With the lights shut off and no windows, it was pitch black in here— not even stray light from under the door—but then Jack had said this room had been light-proofed. Sighing and unable to sleep, I pulled the amulet out of my pocket and began idly turning it around in my hands. I drifted off as I rubbed the face of the amulet.

[garagedoorrepairconverse]

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Are you trying to figure out the best way to handle your garages and their many problems? If you're having residential or commercial issues with your garage door and you're unsure of what to do, Garage Door Repair Converse TX can help. Our technicians are some of the finest in the Lone Star State.CALL 210-645-5108 

EXPERIENCED GARAGE DOOR TECHS

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Safe House With Our Expert Installers If your opening device consistently fails to lift and lower your panel, we know what to do about that. When this happens, you may be frustrated due to the manual labor that accompanies this type of failure, but we've got maintenance specialists who can get it back up and running in no time. Garage door opener repair is one of the many things you can expect when you come here. Garage door spring installation is another thing you can expect from Garage Door Repair Converse TX technicians. When you start having problems with your springs, you may end up experiencing a failure in your panel. Keep you and your family safe by making sure your springing' components are always in the best possible shape with our professional techs.

OUR FEATURES

Why Choose Us

With over 10 years of experience in Garage Door Services, we have a lot to offer to our clients. Here are some reasons why companies choose us.

If you are one of the residents of Converse Texas and want to increase your security level, you can depend on us for exceptional garage door lock installation or replacement service. We can recommend the top garage door locks as Liftmaster that provide you with an additional sense of security, especially when away from your house. 

Garage Door Repair Converse TX 9071 W Farm to Market Rd 78 Converse, TX 78109, USAhttp://garagedoorrepairconverse.com/info@garagedoorrepairconverse.com210-645-5108Mon - Fri:9:00 AM - 5:00 PM Sat - Sun10:00 AM - 4:00 PMOur Services :-     Garage Door Services   

    Roll Up Garage Doors

    Fix Broken Garage Door

    Fix Garage Door Spring

    Residential Garage Doors

    Commercial Garage Doors

    Garage Spring Replacement

    Garage Door Springs Repair

    Repair Garage Door Opener Our Offers :- $ 75 OFF ON GARAGE DOORS REPAIR SERVICE TODAY! (WITH PURCHASE OF PARTS)  $200 OFF ON DOUBLE CAR STEEL INSULATED GARAGE DOORS $100 OFF SINGLE DOOR  NEW GARAGE DOORS STARTING AS LOW AS $249  NEW OPERATORS STARTING AS LOW AS $199  NEW ROLLERS STARTING AS LOW AS $99  $100 OFF ON ALL SINGLE GARAGE DOORS

Payment Methods American Express Cash Discover Mastercard Visa

[stevekaivin]

Residential Garage Door Repair in Denton, TX

Green Eagle Garage Door Company provides same-day repair services on broken garage door springs, cables, openers and more. Fix your garage door today with 5 star rated Garage door repair services. For more information, please visit: https://www.greeneagledoor.com/

[informationwide]

Top Garage Door Repair Services in Independence, MO

When it comes to garage door repair in Independence, MO, selecting a trustworthy and skilled service provider is essential for safe, smooth, and long-lasting operation. Whether you're dealing with a broken spring, a faulty opener, or simply need regular maintenance, finding the best company for the job can make a world of difference. This guide will explore the top garage door services in Independence, MO, to help you make an informed choice.

Why Garage Door Repair Matters

Your garage door is not only an access point but also a significant aspect of home security and curb appeal. Regular repairs and timely maintenance can prevent potential hazards, save on future costs, and extend the life of your garage door.

1. Experience and Expertise

The best garage door repair services in Independence, MO, offer years of experience and technical expertise:

Independence Garage Door Experts: Known for their extensive experience, Independence Garage Door Experts have been serving the community for over a decade. They specialize in all types of garage doors, from traditional setups to modern, tech-integrated systems.

Jackson County Garage Repairs: This company has technicians trained in both basic and complex repairs, making them an excellent choice for those in need of expert advice and reliable work.

What to Look For: Experience often equates to efficiency, so choose companies with established reputations in garage door repairs, ideally specializing in residential and commercial services alike.

2. Comprehensive Services Offered

Different garage door companies may vary in the scope of services they provide. Here’s what the top companies offer:

Spring Replacement and Tension Adjustments: Garage door springs are prone to wear and are critical to the door’s functionality. Leading companies in Independence offer specialized spring replacement and tension adjustments, which improve the door’s balance and ease of use.

Garage Door Openers: Opener issues are common, especially with older models. Quality companies like Independence Garage Pros provide opener repairs, replacements, and even smart system upgrades for remote access and enhanced security.

Cable and Roller Repairs: Damaged cables and rollers affect the smooth operation of your garage door. Companies with comprehensive services will cover these as well, ensuring a quieter, more efficient garage door function.

Top Providers:

KC Garage Door Specialists: Known for their quick response and range of services, from spring repair to opener upgrades.

Independence Repair Pros: Known for dealing with both residential and commercial garage doors and offering 24/7 emergency services.

3. Customer Reviews and Reputation

One of the best ways to identify a reliable service is to check customer reviews and testimonials.

Online Ratings: Check platforms like Google Reviews, Yelp, and the Better Business Bureau (BBB). Services like Independence Garage Masters have excellent reviews for professionalism, quick response times, and fair pricing.

Recommendations and References: Ask friends or family in the Independence area for recommendations. Many satisfied clients will happily recommend trusted services.

Top-Rated Services:

All American Garage Doors: They boast numerous 5-star reviews for responsive and friendly customer service.

Midwest Door Solutions: This company’s reputation is bolstered by customer loyalty due to their attention to detail and prompt service.

4. Availability and Emergency Services

Garage door issues can happen at any time, so quick response times and emergency availability can be crucial, especially for those with tight schedules.

24/7 Availability: Companies like Emergency Garage Doors Independence offer around-the-clock services to handle unexpected breakdowns. They understand that waiting isn’t an option when it comes to securing your home or business.

Same-Day Service: Many top providers in Independence offer same-day service options for non-emergency issues, ensuring convenience and minimizing disruption.

Recommended for Availability:

Rapid Independence Door Repair: Specializes in same-day services and fast response times.

On-Demand Garage Door Services: Known for 24/7 availability and a dedicated team that responds within hours.

5. Warranty and Guarantees

A reliable garage door repair company will stand by its work with warranties and guarantees. This gives you peace of mind and ensures quality.

Labor Warranties: Some companies, like Independence Garage Pros, offer labor warranties on repairs, meaning if an issue reoccurs within a specified time frame, they’ll fix it at no cost.

Parts Guarantees: Parts warranties are crucial, especially for high-wear components like springs and cables. Companies that provide these warranties demonstrate confidence in their materials and the longevity of their repairs.

Notable Providers:

Independence Garage Masters: Known for offering both labor and parts warranties, ensuring customer satisfaction.

Dependable Garage Doors KC: Provides industry-standard parts warranties and stands out for their service guarantee.

6. Competitive Pricing and Transparent Costs

Garage door repairs can range in price depending on the issue, so clear, transparent pricing helps you avoid hidden fees and unexpected costs.

Free Estimates: Many reputable companies in Independence, such as KC Affordable Garage Solutions, provide free estimates. This allows you to compare pricing across different providers.

Detailed Quotes: Choose companies that give detailed quotes before starting work. Look for transparency in costs related to parts, labor, and service fees.

Affordable Choices:

Budget Garage Repairs Independence: Offers competitive rates with no hidden fees and a high focus on quality.

Smart Price Garage Doors: Known for providing cost-effective solutions and working within customer budgets.

7. Certified Technicians and Safety Standards

Garage door repair is a skilled job that requires experience and knowledge of safety practices. Choose companies with certified, well-trained technicians to avoid unnecessary risks.

Technician Certifications: Look for companies that require their technicians to hold certifications from industry organizations. This ensures that they are up-to-date on best practices and safety protocols.

Safety Protocols: Companies like Certified Independence Garage Repair emphasize safety, particularly when dealing with high-tension springs and heavy door panels. Inquire about a company’s safety policies before hiring them.

Highly Skilled Teams:

Garage Safety Solutions: This company trains its staff rigorously and holds certifications in industry standards, making them a trusted choice.

Independence Certified Repair: Known for prioritizing safety and using certified professionals for every job.

8. Local Expertise and Accessibility

Selecting a locally based company in Independence, MO, offers advantages in terms of accessibility, familiarity with the area, and faster response times.

Understanding of Local Regulations: Local companies are often better acquainted with city regulations and building codes, making them more efficient and compliant.

Easy Accessibility: Being able to reach the company easily, both for initial repairs and follow-up services, is a significant convenience.

Top Local Picks:

Independence Neighborhood Garage Services: A locally established company that’s popular for prompt services and knowledge of Independence-specific needs.

Metro Garage Doors Independence: Known for being responsive and accessible, this company has earned a strong local reputation.

Final Thoughts: Choosing the Best Garage Door Repair Service in Independence, MO

Finding the best garage door repair service in Independence, MO, means balancing experience, customer service, cost, and availability. With the right choice, you can ensure quality repairs that extend the lifespan of your garage door while maintaining the security and curb appeal of your property.

Research and compare top providers, consider warranties and emergency availability and choose a company that meets your needs. Taking these steps will not only save you time and money but also give you peace of mind. Whether you need a quick repair or a comprehensive overhaul, the best garage door services in Independence, MO, are ready to provide the expertise and reliability you’re looking for.

[mesagaragedoorcomp]

Mesa Garage Door Company

Triple B Garage Doors And Gates is a top rated and reviewed Garage Door and Gates Company in the Mesa, AZ and East Valley area. Get a Free Estimate on a New Gate, Garage Door, or Garage Door & Gate Repair. Contact Triple B Garage Doors And Gates 638 W. Broadway Rd., Suite #310, Mesa, AZ 85210 480-489-5799.

[icofriendly]

Select Home Warranty: Affordable Coverage with Some Limitations

A comprehensive review of Select Home Warranty, including coverage options, pricing, and customer feedback.

Select Home Warranty, a New Jersey-based company founded in 2012, offers affordable home warranty premiums to budget-conscious homeowners. With competitive pricing and a choice of service call fees, Select provides an attractive option for those seeking cost-effective coverage. However, it is important to note that Select's policies have some limitations in terms of coverage and claim approval process.

In this article, we will delve into the details of Select Home Warranty, exploring its plans, pricing, and customer feedback to help you make an informed decision.

Quick Facts

Monthly cost: $45–$48

Service fee: $75–$100

Better Business Bureau (BBB) rating: B

Plan options: 3

Pros & Cons

Pros:

Charges some of the lowest premium prices in the industry, based on our review Competitive service fee options of $75 or $100 Includes two months of free roof leak coverage with new policy purchases Provides a $3,000 coverage limit for HVAC systems

Cons:

Requires three years of maintenance records to approve claims Lower $500 coverage limit on most appliances and systems Only includes a $400 coverage limit for add-ons

Plans & Coverage

Select Home Warranty offers three plans:

Bronze Care: Covers clothes washer, clothes dryer, dishwasher, cooktop, microwave oven, stove/oven, refrigerator, and garbage disposal Gold Care: Covers air conditioning, heating system, plumbing system, electrical system, water heater, and ductwork Platinum Care: Covers all appliances and home systems in Bronze and Gold Care plans, plumbing stoppages, garage door openers, and ceiling fans

Here’s a side-by-side comparison of what’s covered in each home warranty plan:

Coverage Bronze Care Gold Care Platinum Care Cooktop ✓ - ✓ Dishwasher ✓ - ✓ Garbage disposal ✓ - ✓ Built-in microwave ✓ - ✓ Refrigerator ✓ - ✓ Stove/oven ✓ - ✓ Clothes washer ✓ - ✓ Clothes dryer ✓ - ✓ Garage door openers - - ✓ Plumbing stoppages - - ✓ AC/cooling - ✓ ✓ Ductwork - ✓ ✓ Electrical system - ✓ ✓ Heating system - ✓ ✓ Plumbing system - ✓ ✓ Water heater - ✓ ✓

Why Trust Us?

Our team has thoroughly reviewed almost 20 home warranty providers, collecting and comparing data on monthly costs, service fees, coverage, and more. We have conducted homeowner surveys to gain insights into customer preferences and have established a comprehensive rating system based on 22 data points. Our goal is to provide readers with accurate and reliable information to guide their decision-making process.

Our Thoughts on Select Home Warranty

Select Home Warranty received a rating of 4.5 out of 5 stars in our review. While the company offers affordable premiums and competitive service fees, it does have some limitations in terms of coverage. The lower coverage limits on most appliances and systems, as well as the requirement for three years of maintenance records, may not be suitable for all homeowners.

Additionally, customer reviews regarding the claims process are mixed, with both positive and negative experiences reported. It is important to carefully consider these factors before choosing Select Home Warranty as your provider.

How Select Home Warranty Scored in Our Methodology

Based on our methodology, Select Home Warranty received the following scores:

Plan Options: 5/5 Coverage Details: 2.7/5 Pricing: 5/5 Trustworthiness: 4.8/5 Customer Service: 5/5 Additional Benefits: 5/5 State Availability: 5/5

Overall, Select Home Warranty scored 4.5 out of 5 stars.

How Select Home Warranty Scored

Based on our methodology, Select Home Warranty received a rating of 4.5 out of 5 stars. While the company offers affordable premiums and competitive service fees, it is important to consider the limitations in coverage and mixed customer reviews. To make an informed decision, it is recommended to compare Select Home Warranty with other home warranty providers.

Select Home Warranty's Plans and Pricing

Select Home Warranty offers three policy choices: Bronze Care, Gold Care, and Platinum Care. The Bronze Care plan covers appliances such as clothes washer, clothes dryer, dishwasher, cooktop, microwave oven, stove/oven, refrigerator, and garbage disposal. The Gold Care plan covers air conditioning, heating system, plumbing system, electrical system, water heater, and ductwork.

The Platinum Care plan includes all the appliances and systems in the Bronze and Gold Care plans, as well as plumbing stoppages, garage door openers, and ceiling fans. The monthly cost ranges from $44 to $48, and there is a service fee of $75 to $100 per use.

How Much Does Select Home Warranty Cost?

Based on our analysis, Select Home Warranty costs between $44 and $48 per month, depending on the plan chosen. The company also offers an annual payment option, which includes two months of free premiums. It is important to note that there is a service fee of $75 to $100 per use, which is paid each time a claim is filed.

Types of Covered Damages and Perils

Select Home Warranty's policies cover damages associated with "normal wear and tear," which excludes damage caused by natural disasters, sudden incidents, or lack of maintenance. The company dispatches technicians to assess the cause of breakdowns and determine eligibility for coverage.

Coverage Exclusions and Limitations

Select Home Warranty has exclusions and limitations in its coverage. It does not cover individual components of appliances, hazardous materials, previous repairs, acts of nature, foundation and structure, and manufacturer's defects. It is important to review the sample contract and policy details to understand all exclusions and limitations.

Discounts and Policyholder Perks

Select Home Warranty offers two months of free premiums for new policyholders who opt for annual coverage. It also provides complimentary roof leak coverage to select new customers.

Sign-Up Process

Select Home Warranty offers an online signup process that allows customers to compare coverage options, pricing, and add-ons. However, it does not provide a sample contract to download during the purchase process, so it is important to contact a representative for any clarification before buying coverage.

How To File a Claim with Select Home Warranty

To file a claim with Select Home Warranty, customers need to contact the company by phone or email. Select will then schedule an appointment with a technician to assess the issue. It is important to follow the claim filing process outlined in the sample contract to ensure eligibility for coverage.

Select Home Warranty offers affordable coverage options for budget-conscious homeowners. While the company has some limitations in terms of coverage and mixed customer reviews regarding the claims process, it is still worth considering for those seeking cost-effective home warranty solutions. We recommend comparing Select Home Warranty with other providers to find the best fit for your needs.

[sparkgarage-doorandgates]

Garage door opener in Sherman Oaks

Professional technicians can diagnose issues, perform repairs, and even upgrade your opener to the latest models for enhanced features and performance. The garage door opener is the heart of your garage door system, providing convenient access to your home with the push of a button. However, like any mechanical device, garage door openers are subject to wear and tear over time. Garage door opener in Sherman Oaks is essential for maintaining optimal functionality and security.

[floorcenterdubai]

Top 5 Benefits of Motorized Curtains

Automatic curtains are valued by many for their comfort, aesthetics, and safety. We decided to name the top five qualities of motorized curtains and the benefits they give to the homeowner. If you want to buy them then connect with top motorized curtains in Dubai manufacturers today!

Advantage 1 Ideal for high ceilings and floor-to-ceiling windows

Motorized curtains are perfect for apartments and houses with high ceilings. Such devices will allow you to forget about the usual cords or chains. At the touch of a button, the curtains open and sunlight enters the house. Also, electric curtains will perfectly fit into the interior of houses with panoramic windows. After all, the canvases of panoramic curtains are made "to the floor", so they are heavy and it is very inconvenient to move them manually.

Advantage 2 Convenient control of light protection on windows and customizable lighting scenarios

Electric curtain rods are designed to make the life of homeowners easier because it eliminates the need for them to open and close curtains (or, for example, blinds) every day. It is especially true if there are many rooms in the house/apartment. It is enough to press one button and all the windows in the house are curtained by themselves.

Advantage 3 Safe for children

It is worth noting that the usual cords and chains for controlling curtains and blinds, which hang from the windows, pose a threat to children. In Europe, there are cases when babies die after becoming entangled in them. Because of this, officials officially recommended not to use such structures in children's rooms. At the same time, electric cornices completely solve this problem, making housing safer for its small inhabitants. To make this more safe connect with experts at curtains installing services like experts at Floor center, the best curtains fixing services in Dubai.

Advantage 4 Automatic opening and closing of curtains

Some sensors make life much easier for residents. Do you want the curtains to close themselves if it's too hot outside? Install a sunlight and temperature sensor. Automatic opening of curtains in the morning & closing in the evening can also be solved with the help of a special timer sensor.

Advantage 5 connecting curtains to the smart home system and controlling it remotely

"Smart home" has long ceased to be just a figment of the imagination of writers — such systems are actively used in many countries, including Russia. Automatically opening garage doors or controlling home appliances via the Internet doesn't seem like a fantasy anymore. Curtain manufacturers are also actively using such technologies, significantly simplifying people's lives.

Just imagine: you press just one button and the screen appears, the projector turns on, multi-channel audio is activated, the lights are turned off and the curtains are closed. A real cinema in your home is possible not only in the homes of Hollywood stars and billionaires.

Another example: let's say you went on vacation, but you don't remember whether you closed the curtains or not. Don't worry – you can find out with the help of an app on your mobile phone. Press the button & that's it, the curtains are closed.

Motorized curtains allow you to solve a variety of everyday tasks, such as caring for flowers. To prevent them from drying out or, on the contrary, to be able to get a portion of sunlight while you are away, install automatic control of window blinds using a sun sensor. The blinds will close by themselves at sunset and open at sunrise. Use a timer to do this or set up a script so you don't have to worry about it anymore.

Although automated sun protection in the home is an expensive pleasure, manufacturing companies meet the consumer halfway. Recently PVC Curtain also become popular. PVC Curtain Dubai producers recently produce in a big amount looking at its demand. Despite its affordability, it has retained the main advantages of expensive electric drives. Therefore, it has become much easier and cheaper to make your home "smart".

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Award-Winning General Contractor in Belmont

Envirobuilt Construction is a 5-star contractor in Belmont, CA.

Despite the impressive nature of the homes and estates in Belmont, there's always a need for remodeling. Updated kitchens, new primary bathrooms, garage conversions, detached ADUs... The list goes on. And the discerning homeowners in Belmont, CA, settle for anything less than the best in home remodeling.

That's where Envirobuilt Construction comes in! Envirobuilt Construction is an award-winning, 5-star general contractor serving Belmont and surrounding areas. Houzz has awarded us “Best of Houzz Service” for six consecutive years (2017-2022).

Envirobuilt Construction has been revered by California locals and Belmont residents alike. In fact, our clients' praise has flooded review sites, including Houzz, Yelp, Google and Facebook, with more than 100 5-star reviews. They love working with Envirobuilt Construction for many reasons, but here are the top four reasons why our clients recommend

Envirobuilt Construction:

25+ Years of Experience with Proper Licensing Our company is one of the only contractors in Belmont with more than 25 years of experience in general contracting. Most of our staff has over 20 years of experience working in the industry, meaning our team is well-versed in the arts of craftsmanship and service. In addition to decades of expertise, Envirobuilt Construction is a licensed, bonded and insured general contractor.

Family-Owned & Operated with a Focus on Values

We are a family-owned and operated business that values each and every one of our clients because they’re our neighbors. We live and work in Los Angeles, so we’re aware of the area’s current events, challenges, opportunities, permitting needs, real estate and state housing, and more.

We also place a heavy emphasis on our core values because we want to leave every home remodeling client feeling like we did our best work. Our core values include:

• We guarantee 100% customer satisfaction.

• Our quality is unparalleled.

• We are always transparent and honest.

• Collaboration is always part of our process.

Wide Range of Construction and Remodeling Services Envirobuilt Construction offers a complete array of home remodeling services ranging from kitchen and bathroom projects to room addition construction and remodeling options.

We provide:

• Kitchen Remodels

• Bathroom Remodels

• Accessory Dwelling Unit (ADU) Builds or Remodels

• Room Additions

• Garage Conversions

• Complete Home Remodels

• Interior Design

• Demolition

• Permit Acquisition

• Engineering

• Architectural Planning

• Roofing

• Electrical & Lighting

• Flooring, Tilework & Painting

• Appliance Installation

• Windows & Doors

Seamless Construction Project Process

The Envirobuilt Construction has skilled project managers who ensure communication and transparency, from the in-home meeting to the final day of construction. This allows for a seamless and worry-free construction process.

Our typical process begins with an in-home meeting, where we’ll view the space and discuss everything from your goals to your budget. From there, we build out a cost estimate that factors in your vision and budgetary needs. Then, we provide a standard, easy-to-read California contract. Once that’s signed, our team gets to work.

We’ll work with you to schedule a timeline, and then we’ll oversee the ordering and delivery of materials, acquire building permits and fulfill any other additional needs, such as architecture, engineering or design.

We manage it all to ensure a stress-free home remodel! And, of course, we’ll keep you informed along the way. Are you ready to remodel your home with the best general contractor in Belmont? Contact Envirobuilt Construction to set up an initial meeting and get a free quote today!

[stevekaivin]

Residential Garage Door Repair in Denton, TX

Green Eagle Garage Door Company provides same-day repair services on broken garage door springs, cables, openers and more. Fix your garage door today with 5 star rated Garage door repair services. For more information, please visit: https://www.greeneagledoor.com/

[mmvalentine]

Lover Like Me pt 14 (epilogue) | Feysand

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11 Part 12 Part 13

The next year blurs by and I swear I couldn’t even tell you what we filled it with. We just hazed through, the way that you get to the end of summer vacation drunk on long days and the absence of school bells and wonder where the time went.

I can tell you that we moved house, not immediately but eventually, and not very far. Rhys wanted to stay close to the garage, after all. In fact, none of us live in the Velaris blocks anymore, and no, Rhys didn’t buy a house for each of them. His father was wealthy but not that wealthy. He did buy the auto shop though, and start paying an actual living wage once he fired the old manager, and wouldn’t you know it, the guys all started renting decent places once they could afford it.

Mor moved closer to the beach and met a girl at one of Helion’s extravagant parties. Azriel’s got a slick city apartment with a view, and Cassian’s shifted toward the mountains and living his best lumberjack life. They all commute but no one’s complaining.

I often think back on the time we all lived together with great fondness, but I know for the others, painful memories still live there, and we’ve never been back. I don’t mind at all, because I’m home wherever Rhys is.

And Rhys is here, in a house of our very own, and he’s magnificent.

Out from the shadows of his violent father’s past and his dead mother’s house, Rhys is a force to be reckoned with. Business is booming, we go on trips most weekends, and I’ve never heard him laugh so loud. And coming home to him every day is a luxury that simultaneously feels like I’ve been doing it forever, and like I’ll never get used to the thrill of it.

It’s not a giant house, but there’s the loveliest rose and lilac garden out the front, and French doors on the second floor to the balcony that Rhys built. We have a bedroom with a skylight, which he cleans every weekend because he loves to look at the stars. It has a study we converted into an art studio for me, with shelves all along the wall to hold all my supplies. There’s a spare bedroom that is always made up- it was important to both of us our friends could stay with us whenever they wanted or needed to. And it has a garage where Rhys keeps his bike and also a beautiful vintage Bentley that he’s restoring in his spare time.

Rhys runs the shop better than Amarantha ever did, and now that she’s gone the guys actually like going to work. I visit sometimes, bring by boxes of pizza when they work late not because they have to but because they’re enjoying each other’s company. Pepperoni for Azriel, cheese for mor, mushroom for Rhys, and four of whatever there’s four of for Cassian. They wipe black grease off their hands and laugh with their mouths full, and now movie nights happen less frequently but we put a projector in the garage and every month or so we watch on a wall-sized screen.

Sometimes it’s just Rhys who’s stayed back, slumped in the office over the books that were never his favourite part of the job. On those days I feed him Irish tea and chocolate biscuits, and when his blood sugars are revived, we make love on the desk, where I have a perfect view of a certain painting that hangs on the wall and remains my most abstract piece to date.  

As for me, my rent situation may be taken care of, but I will never not have my own bank account again. I’ve earned myself a permanent spot in Tarquin’s gallery by maintaining the highest selling rate of any of his resident artists. It’s not quite enough that I’ve quit my job at the art store, but I’m getting closer. Hey, maybe one day I’ll outgrow Tarquin and open a gallery of my own.

I’m telling you, my life is perfect.

Not because we never fight- amongst the brilliant days there are sad ones, when Rhys is full of trauma and fury and grief, and just because most of the time I know how to bring him back doesn’t mean it always works, or that I always have the energy to do it, or that he always wants me to.

But because he chooses me every damn day, even when I have nightmares about blonde haired men and I kick him in my sleep, even when I have unreasonable expectations that he will read my mind and then get upset that he hasn’t correctly anticipated my needs, and even when he works late and I’ve stayed up painting and we’re both cranky and snappy and rude.

And because I choose him back, just as many times.

And that- I wouldn’t trade that for the world, not for a thousand days of serenity, not for a million dry-eyed nights.

Still, it’s not the fights and the slow, painful healing that I want to replay over and over.

It’s days like today.

When I wake slow in the early morning light with Rhys’s lips on my ankle.

The alarm is set for seven, which is when we wanted to get up and get on the road. Our bags are packed and Rhys’s motorcycle is clean and full of fuel, and there are hours of mountain trails waiting for us to lose ourselves in their alpine embrace.

Yet here is Rhys with a kiss that moves slowly up the side of my calf.

And he’s usually such a stickler for a schedule.

I moan softly without opening my eyes. It’s warm and soft in our bed, and I’ve never been one to rise easy from slumber. Rhys’s tongue hits the corner of my knee, his teeth nip at the inside of my thigh, while the rough of his hands trace the journey his lips have just made. I twitch a little when his mouth lands at the join of my leg and my hip, although my limbs are still so heavy. Then the heat of his breath hits my underwear as he kisses the fabric between my legs, and my back arches up to his touch as if lifted by this string of static that starts in my stomach and ends in the apex of my thighs.

“Good morning, lover,” Rhys whispers, and then his mouth is otherwise occupied.

He pushes my underwear to the side and then it’s the flat of his tongue from pussy to clit. I gasp at the first touch, and then my panties are slid off my legs and I’m kissed on the sharp parts of my hips and the soft parts of my inner thighs and over my bare pussy again. I’m only half-way awake but I’m drowning in something sweeter than sleep as he laps me up and eats me alive. The minutes slide by but Rhys has all the time in the world as he flicks his tongue against me over and over again, winding me slowly round and round his little finger like a spool of thread. It’s not difficult; I’m always his.

His hands slide flat from my hips to my belly to my breasts, and all the while his lips are loving me. His mouth moves slow and dirty and sure. I’m rocking myself onto his tongue, the pleasure is a fog around me, and when he gets my nipples between his fingers, I tip my head back and moan just like he likes.

I could have happily passed the day like this, but my waking dream is cut through my the too-bright ring of my phone alarm.

At first, we ignore it, but of course the stubborn thing rings on and on. I groan in protest when Rhys gets up, but then the silence is restored and Rhys comes back to me and is settling his body over mine. His fingers lace through my fingers, and my hands are swept up and pinned above my head. He’s heavy and hard and as he rolls his hips into me, I’m mollified.

“Sleep well, honey?” Rhys’s voice is husky and low, and I don’t know how he expects me to answer when he’s grinding into me as he speaks. My eyes roll back and my hips lift to meet his, and the dark chuckle that issues from above me is as smug as a Cheshire cat. He kisses me then, sweeping his tongue deep into my mouth to make sure that I can taste myself on him like when he fucks me but finishes in my throat. The memory evoked is so filthy I’m turned on even more, and I start moving up against him looking for friction between my legs.

Rhys obliges me, driving his hips forward and kissing me deeper. I’m fairly sure I could come just from dry-humping this man, but he’s not going to let that happen. I’m rubbing up against his erection and building into a little rhythm that’s getting me where I want to go, and then just when I get to that floating place Rhys shoves his waistband down and pushes inside me.

I’m stretched out faster than expected and Rhys is sliding into me and by the time the tightness eases I’m coming on his cock.

It’s that easy.

And if there’s one enduring thing about us, about our relationship, it’s that it’s easy. It’s so easy and even when it’s difficult and when it sucks it’s easy and that’s why I love him. Or maybe because I love him. I love him so fucking much and I wouldn’t believe that someone so good would love me back except that he tells me all the fucking time and my head has gotten so big with it I wonder how I get in the front door sometimes.

And so here I am, early in the morning with no thoughts in my head and I’m coming hard while Rhys is all the way inside me and then when I’m back in control of my body I fuck him back until he comes, too.

On Sunday night, we’ll get back from our trip and we’ll unpack.

We’ll carry our bags in on tired legs and when I sit down and start unlacing my boots Rhys will look distracted. He’ll start picking through our belongings and I’ll ask him what he’s looking for.

“I’m just looking for… I could have sworn…”

“What, Rhys?” I’ll ask.

“It’s just, it was right here, can you look in your bag?”

“Look for what?” I’ll ask again, even as I start rifling through my backpack, searching for something I don’t know the name of.

“It’s so small, it could have fallen out.”

“Fuck’s sake Rhys, what am I looking for?”

“It’s the black box, you know the one.”

I don’t know the one, and I’ll get annoyed as Rhys continues to be vague while he shoves his hands in the pockets of our discarded leather jackets.

“Would you just look?” Rhys will say, and I’ll start getting mad that he’s sounding frustrated with me when he’s not communicating properly, so when my fingers close around a foreign object I’ll shake it at him.

“Here, is this what you’re looking for?”

“I don’t know, open it.”

I’ll roll my eyes and snap open the little velvet case, and my anger will instantly evaporate because inside will be the most perfect sapphire and diamond ring I’ve ever seen. I’ll be in shock, I’ll look up at Rhys but he’ll be down on one knee with his violet eyes so bright I can hardly stand it.

“Feyre,” he’ll say, and then he’ll swallow because he’s getting choked up. “Feyre from the moment I met you…”

“Yes,” I’ll breathe, and he’ll laugh.

“Feyre, I never thought-”

“Yes,” I’ll interrupt again.

“I didn’t think someone like me-”

“YES,” I’ll yell, and I’ll fall to the floor before him and try to kiss his stupidly gorgeous face, but he won’t let me until he can at least get the question out.

‘Feyrewillyoumarryme?!” he’ll shout, and then he’ll fall backward because I’ve flung myself at him and I’ve covering him with kisses and ‘yes’s.

And then the studio door will burst open and Mor, Cassian and Azriel will be exploding out from their hiding place and dog-piling on to us, and I’ll barely be able to breathe from laughing and crying and being crushed by these goobers, whom I love so very much.

But that will be on Sunday.

Today, we are naked in bed.

And I hope that this is the way he remembers me always, when we’re old and wrinkled and grey. I hope he remembers buckling a helmet under my chin before we get on his motorcycle, I hope he remembers my arms around his waist as we ride. I hope he remembers living in this house, now, with me, before dogs and kids and mess and whatever else he wants in our future. But most of all I hope that he remembers being this deep inside of me while we move, keeping pace with our matching heart beats, with nothing but time and thoughts of being loved, and being a lover.

***

The end, at long last.

My loves. Thank you for being with me in this story, it is the longest one I've written by far (like more than triple the length of The Bargain) and it has been such a joy to hang out with you guys along the way. I really appreciate everyone who read and shared and reblogged!! I will miss you, please dont be strangers ❤️❤️❤️

MASTERLIST

TAGLIST: @ghostlyrose2 @highladysith @stardelia @feysand-loml @tillyrubes10 @ratabrasileira @live-the-fangirl-life @maybekindasortaace @annejulianneh111 @thebonecarver @rowaelinismyotp @loosingdreams @pitrsattabhaadmeinjao @achernarlight @swankii-art-teacher @sjmships @courtofjurdan @teddytdr @positivewitch @thalia-2-rose @darling-archeron @rapunzel1523 @fairchildjace @hopefulacademia @story-scribbler @fandomstalker27 @realbookloverproblems @dealfea @s-tormwitch @cretaceous-therapod @whenyadoesntcutit @scatterbrainedgirl @whoever-you-choose-to-love @endlessdaydream @elentiya-whitethorn @rarephloxes @timesconvert @mis-lil-red @alerialumina @lokisllama

[timextoxhajima]

Nevertheless: Wishful Thinking [3]

[completed] [1] [2] [3] [4] [5]

synopsis: why would the college flirt want anything to do with the innocent heartbreaker? a [somewhat] nevertheless au featuring tbz's eric son young jae

genre [per chapter]: suggestive material, smut *this series is a smut series so* please don't read if you're uncomfy. if you're underaged and you still wanna read, i'm not stopping you. i don't care because that's your responsibility to know what's fiction and what's not.

word count: i genuinely don't fucking know i think it's at least 4k WHY THE FUCK IS IT GETTING LONG ERJSJSJSJDNAKD

taglist: @from-xero @taeyongandfree @ten-gift @louvyves @sweetutopia @yyyereum @jung-breadshop @sunwoowuvbot @mashedpotittiess

protip: links of BGM are linked~

{this is a work of fiction}

eric swipes his thumb across his bottom lip and drags his index finger over the tip of his nose, tongue still sucking on his teeth as if it hadn't already been a day.

he was sitting on the other side of the tutorial room and you just so happened sat in a spot where he was the first person in your view when you looked up.

stupid hexagonal tables.

the moisture in your mouth suddenly evaporates, leaving your tongue dry like sandpaper against the roof of your mouth.

the lustful blanket over his eyes threaten to rip your mentality apart, and even without him touching you, the heat in your abdomen starts to clench and throb.

the thought crosses your mind, just so you can convince yourself: if eric can associate himself with sex within your primal instincts then the brain that got you here can associate him with a big, fucking, red flag.

you suck in a deep breath and hold it for awhile, eyes plastered to the ipad under your palms. crossing your legs tightly, your jeans hug your hips and waist all too perfectly.

yujeong had smacked one of her baseball friends earlier that day for staring at your legs.

after the likes of wooseok's party and the incident yesterday, you made it an effort not to show up in dresses or skirts anymore. call it ptsd, call it trauma, call it not wanting to get into trouble.

whatever it was, you didn't want eric anywhere near you.

well, despite how good he mad-

"can you stop eye-fucking him from across the room?" yujeong harshly whispers at you, glaring at you from the corner of her eyes.

"what?" throwing your tied-up hair to your other shoulder, you tilt your face to her.

"what do you mean 'what'?" yujeong hisses, nodding to the boy across the room. "y'all are fucking in your heads!"

"yes, broadcast it to the entire class, would you, please?" the sarcasm drips off your tongue with a frown.

"I'm just saying if you want him so bad then just go get a room. fucks' sake, go find a practice room or something."

"i think I'll go with 'or something'."

and in that second, your iPad lights up with a notification from the school email account.

yujeong parts her lips with a retort, but you quickly shush her by pressing a finger to your lips when the professor seemed to glance over at the two of you.

she inhales a deep breath, spotting the notification pop up on her laptop screen too.

to: all students

from: the college union

title: dance union winter getaway

dear students,

every year, more than 200 students apply for the dance union but only 20 are accepted. thus, it is of high regard that the members of the dance union utilise the annual winter getaway to bond.

this year's event will be held at lake white. all students in the dance union with leadership positions are expected to be present and those with valid reasons of absence are required to fill up the form attached to this email.

if you're interested in joining the dance union, please apply in the first week of the new academic year. applications open first week of the semester.

regards,

the student union

staring wide-eyed at the email with your apple pencil trembling in your fingers, you gulp.

fuck.

yujeong's lowly snicker sounds from next to you, and you look to her, only to watch a bright smile stretch across her face.

"what?" she snorts, tears in her eyes. "don't look at me. look at your captain."

your neck snaps to the boy across the room, who's got his phone lifted with the screen displaying the email page. he waves it around a little, raising a brow with a menacing shimmer flashing across his eyes.

your blood begins to boil without reason.

why were you suddenly stuck to him? it's like the planets and stars aligned just so he glue himself to you; so he could ruin your title and rip you apart, inch by inch.

your fists clench around the apple pencil, and you're only snapped out of your inner rage when the professor calls on you.

yujeong leans into the lockers with her books against her chest, mindlessly scrolling through her phone as you go on incessantly about the student union's decision to make it mandatory.

you swing the locker door so hard that it bounces off its limit and nearly comes back down onto your hands, but you stop it before it does.

"how does the fucking winter getaway improve our bonds?" you hurl a textbook into the locker. "it's not like we're gonna sit in a circle and sing hallelujah, right?"

"you went for that getaway last year-"

"yeah, and we did nothing besides getting shitfaced! fuck this stupid winter getaway."

"sis, say that any louder and your 'innocent heartbreaker' image is gonna change into something more like 'brutal heartbreaker'."

"don't fucking call me that," you hurl another book into your locker. "and why does everybody talk like that nowadays? 'say that any louder'? where was that from? a movie? a tiktok?"

"why are you so on edge?" yujeong pushes herself off the metal doors and frowns. "you've been on edge ever since wooseok's party."

"i am always on edge."

"what?" yujeong pulls her lips up into a slight wince as her eyes half into squints. "bullshit. what happened to your little 'innocent heartbr-"

"don't," you lift a finger, shutting your eyes and stopping her. "say another word."

yujeong raises both her brows, smirk plastered to her face as she readjusts her bag. "don't worry."

you look up at her, placing the last item in your locker.

"i don't have to."

"what?"

"so," then that godforsaken voice rings from behind you, and all your physical senses start to shut down one by one.

yujeong sees right past it, smirk turning into something less devious as she puffs her cheeks.

"about the winter getaway."

"i'll leave the two of you at it."

"what? no-"

"bye!"

"yujeong-"

she turns and strides off, short hair lathered around her neck. she waves with a bright grin, leaving you to back face the vicious heartbreaker.

you remain rooted to the ground, locker door wide open and bag slung around your right shoulder. eric waits until yujeong disappears down the hall, leaving a few other students within the vicinity to turn and stare at the two infamous dance captains.

eric walks to your side, reaching out and resting his palm on the outer edge of your locker.

"we're in open space," he smiles, gradually pushing the locker door inwards and closing it for you. then he rests his palm against the metal door, sandwiching you again. "there's not much i can do to you."

a few students turn to stare.

"unless you want me to."

"stop it."

"stop what?" he smirks and buckles his arms, forcing you to lay your back flat against the metal surface. "I'm not doing anything."

"then what are you doing now?" you frown and look up at him, knuckles whitening around your bag straps.

"having a conversation."

someone fishes a phone out, and the flashlight flickers.

eric whirls around, keeping his arm anchored to the locker.

"stand down, kid."

"sorry," he fumbles with the phone, and now you'll never know if he actually took a picture.

"anyway-"

"look, i don't know what kind of game you're playing but this isn't healthy for us if we are supposed to work together. especially with the winter getaway coming up."

eric licks his lips and lowers his head, smiling at the sudden cast of professionalism.

"it flatters me that you don't care too much about having fucked outside of wooseok's garage-"

"eric-"

"nor getting fucked out in the practice room-"

"eric-"

"or even the fact that you tied up your hair today-"

"i tie up my hair whenever i fucking want to."

"ooh," eric winces at the snap, his pearly whites glimmering under the lighting. "the 'innocent heartbreaker' is angry!"

"will you shut the fuck up?"

"aw," he coos, leaning into you and breathing down your philtrum. "make me."

your fists finally clench, jaws locked and temples tightened.

"I'll rip off your dick if you touch me again. now, back off."

you press your palms flat into his chest and shove him away, breaking him into light chuckles as he stumbles back.

you pull your bag back onto your shoulder, turning sharply and stomping off.

"hey! we still need to meet up to discuss the plans for lake white!"

the scent of half-painted canvases with acrylic paint washes through your nose when you enter your room.

it's definitely bigger than what a normal room should look like, but it's not your fault that both your parents work under Lee Enterprises, the country's telemarketing company.

the studio corner of your room is in a mess, and you're just halfway done painting the edges of your mirror.

which for specific reasons, you can't really look at it anymore.

the peculiar object you chose to decorate the glass surface hang idly on the corner of the frame, reflecting the afternoon sun spilling into the room.

eric son: so when do we discuss the plans for lake white?

eric son: i don't like to procrastinate

"'discuss the plans for lake white'," mumbling under your breath, you dump your bag into the corner of your room, huffing and resting your hands on your hips. "he's the damn captain, isn't he? he can do it on his own."

notification: acrylic paint to be delivered today

your phone automatically links up with the bluetooth speaker in the room, and you mindlessly tap on the shuffle button before pulling off your shoes.

eric son: okay so I'm thinking groups of four

you pull off your jacket and let the ends of your ponytail brush across your back where the camisole doesn't cover, cool air rushing across the hairs on your skin.

eric son: we can play truth or dare

the bass rumbles through the flooring as you pull off your jeans, throwing on one of those open-holed shorts that no one was ever going to see you in - not even yujeong.

the doorbell rings, yanking you out of your mental rage session over eric son.

acrylic paint.

picking up a cardigan and tying it around your waist, you jog down the stairs and pull open the door without hesitation.

She's just that type of girl

"what. in the world. are you doing here?"

eric tilts his head to the side, his eyes running the length of your body - all the way down to your feet and back up.

"you weren't replying my texts so i thought-" then he raises both hands from his sides, taking a step back and gesturing to your front porch like he owned it. "what better way to have your presence than to go to you?"

"how do you know where i live?" a frown befalls your brows, and your grip tightens on the door handle.

"it's in the school records for student leaders," he offers you a smug shrug, taking a step back to where he was previously standing.

your lips part in an attempt to challenge his explanation, but then he waves it off with a cheeky snicker. "I'm joking. yujeong told me."

"now, why the fuck would she give you my address?"

"hey, captain to captain! plus she knows i won't hurt you."

a scoff runs off your tongue. "you want me to believe that you won't hurt me?"

eric's tongue darts across his lips as he leans on the door frame. "not in your house. oh, i wouldn't dare, princess."

with a huff, you blink away the eye contact first, taking a step back and tugging on the door. "don't fucking call me that."

but his hand flies out and thuds against the wood, keeping the door open. he slowly steps forward, letting himself in.

"then what should i call you?"

"names exist," you step back and grip onto the empty arms of your cardigan around your waist. he closes the door, pulling the chain to lock it.

"then do you prefer y/n or 'innocent heartbreaker'?"

you squint at him, cocking your face at an angle as you back up again.

the answer settles in your head, but you can't say it out loud.

because he's already debunked it.

She's just that type of girl

"fun playlist," eric nods up the stairs, arm stretching out to you and snaking around your waist.

"don't fucking touch me-"

then his other hand circles you as well, his arms around you as he holds you to him, lowering his face into yours. an arching back tries to keep his face off yours, but any more and your spine would've snapped into two.

his nose presses into your cheek as he slots his lips between yours, and the world goes into a muffled silence for a few seconds.

or maybe that was just your playlist moving on.

your nails dig the inside of your clenched palm, fists against his chest as he pulls you up to deepen the kiss, lips moving with yours in some intricate dance of dominance.

on beat with the distant bass coming from your room.

he lets out the first groan, his hands gradually sliding down your back and groping the flesh of your rear that's poking out from under your shorts.

the harsh grip squeezes a whimper out from you, your entire body cringing forward into him and closing the gap between you. with one palm still holding onto your ass, the other comes back up in between your shoulder blades, keeping your chest plastered to his.

eric turns you around, holding you against the wall that leads up to the stairs. your back is flat against the surface, hair stuck to the felt of the wall with your thigh being pulled up over his pelvis.

We should just calm down and fuck some time

then he pulls away and huffs, lips hung wide open and his eyes completely lost in yours. in a low growl, subtly shakes his head as if to disapprove your disobedience against the song lyrics.

"oh, we fucking should."

eric doesn't bother waiting for a response before dipping his nose into your jaw, lips latching onto the tender skin of your neck.

"you coming here-" a jolt of bliss rushes through you when he finds a tender spot, his arms tightening around your waist to keep you close and against the wall. "-was not an invitation-"

the cologne on his clothes starts to intoxicate you like alcohol does to any normal person, the scent of his hair and his clothes wafting and shuffling all around you.

"but you don't hate me being here, do you, princess?" he mumbles into your skin, nipping at the spot behind your lobe. your eyes flutter shut, fists clenching against his shoulder blades.

"come on," he whispers. "we've done it outside and in a practice room, surely you must feel more comfortable in your own bed?"

your eyes widen upon the suggestion, the thought of that cursed object hanging over the corner of your mirror in the room suddenly pulling your soul back into your body.

"no, we can't."

eric pulls away from you, lips reddened from the nipping. they are apart, and his breathing slows as he studies your face.

the panic in your eyes is far too grave for him to miss.

"why not?"

gulp.

"you don't happen to-"

"it's not a vibrator."

eric raises his brows, caging you between his arms as he corners you further, chest on yours and his lips right above your lashes.

"perhaps a-"

"it's not a dildo either."

he pouts in slight disappointment when he can hear the stark honesty in your voice.

his chest rises and lowers under his shirt, listening to your breathing that hitches in your throat every now and then; observing your discipline to keep your eyes away from him.

"you're not gonna tell me what it is?"

glaring at him through the corner of your eye, you shake your head with a resounding 'no'.

he pauses.

then he leans into your ear.

"you being scared is just making me a little more curious, princess."

"curiosity kills the cat."

eric pulls away and slides his arms off the wall. "cats have 9 lives."

the number of sirens that go off in your head spikes, and before you can process his words, he grabs your arm and pulls you onto his shoulder.

"oh my god!" his arm wraps around your lower back, knees against his chest and the world from your eyes upside down as he hoists you up the stairs. "put me down, jesus christ!"

"the more you yell, the more you're gonna regret it, princess," he warns while chuckling to himself. "what could it be, if it's not a dildo or a vibrator?"

then the warmth of his palm reaches up to your shorts, and his fingers dig under the cloth of your underwear.

"fuck, eric-"

all too easily, he pushes a finger into you, your entire body cringing from the sudden intrusion. your eyes blur out just as he makes it to the second floor, and he doesn't need to ask which door he should be heading to.

not when your door has a framed portrait of yourself from last year's concert.

the door creaks open when he pushes the two of you into your room, greeting the sunlight drawn across the floor and his finger still buried inside you.

you heave a sigh when he pulls his finger out and shoves it into his mouth, leaning over your bed to rest you into the cushion.

automatically, his eyes are on high alert, scanning your room. but by the time you've regained your senses and the blood's returned to the rest of your body from your head, he finds it.

resting on the back of your forearms, your breath turns shakey and your eyes twitching from the sight of it dangling off his fingers.

eric turns to look at the mirror, turning the item in his fingers to match the painting of it on the edges.

"so," he returns to you, raising a cocky brow and smirking. "you get high off painting handcuffs on your mirror?"

you tightly shut your eyes as the frown cements into your forehead.

"fuck."

eric scoffs, tongue dragging across his upper lip as he walks towards you and lifts a knee to your bed, the other following.

"this really makes me question how you even got your reputation," eric jingles it from his fingers, his free hand reaching down to draw circles on your right ankle.

"it's just acrylic paint. i paint something new every month-"

"and so your choice for november was... handcuffs?" he wraps his hot fingers around your ankle and yanks you downwards, your crotch nearly meeting his knees.

"it's not my fault you decided to play this game the month i decided to get something remotely inappropriate."

"'remotely inappropriate'," eric repeats, smiling as he lowers himself. the handcuff still within his right hand, his left draws trails up your right leg, playing with the rim of your shorts where they were already riled up enough to expose a bit of your underwear. "so, tell me princess. why did you choose this-"

he holds it up and jingles it over your nose. "to paint?"

"surely it's not because it's pretty."

"or maybe you think it'll look pretty around your wrists?"

eric reaches for your hands and you struggle upon instinct, he pins your dominant hand down first and clips the first cuff around your wrist.

"eric-"

he finds your free hand and connects both your wrists, clipping the other cuff despite your struggling.

eric sucks a deep breath, then parts his lips to exhale. pushing himself off you, he pulls your shorts off first, eyes trailing across every inch of your body with your wrists cuffed together.

the thoughts wash through you involuntarily.

the wooden planks. the dress. the torn underwear.

the mirror. the fogging. the skirt.

the tears collect in the corners of your eyes even before he can completely get it off your ankles.

then he pulls your legs apart for him to lock them in place with his own thighs, crouching over your body like a lion devouring his prey.

he pushes your arms up and above your head, making it difficult for you to bring them back down with your wrists bound together.

his breath is hot on your chest where he first dips his nose into, tongue swiping across the skin of your heaving ribs. hands coming up your waist and pushing them up your torso, it exposes your ribcage and bra.

inch by inch, he breaths down the length of your torso, from your chest and over to your stomach with your camisole rolled up messily over your bra.

upon reaching the rim of your underwear (and heaving stomach as you pant and huff in a bid to calm your nerves), he stops and looks up at you.

"thank god you rejected wooseok."

then both his hands come down to your chest to rip apart your camisole, pulling it out from under you before he unbuckles your bra.

you swallow the first whimper already on the tip of your tongue, but your stomach plunges and your back arches violently when he takes the tip of your breast between his lips.

left hand coming round to grip your other, his right travels down to play with your sensitivity, forcing your body into subtle jolts with the overwhelming sensation.

he tugs on your tip, grazing it between his teeth before releasing it and latching his lips onto the tender flesh in a bid to make his mark.

your brows finally furrow into a frown of bliss, jaw hung agape though struggling to contain the lewd noises prancing about in the back of your throat.

he rolls the other tip between his index finger and thumb, sucking and kissing the reddening flesh of your chest.

and down below, he's pushed your underwear aside, thumb abusing your sensitivity and buckling your hips upwards.

he provides you one sharp bite on your tip, earning a strained hiss from between your teeth. it feeds his pride, for he removes himself off you completely and stares down at you, admiring the painting he's made on your chest.

hickeys.

grip marks.

and the wet patch on your underwear between your legs.

he turns and shifts off the bed, leaving you to catch your breath and cross your legs over one another.

the clacking about in your studio corner drives the tears into your eyes, listening to the lid of the box where you keep your paint come off.

you shut your eyes, resigning to fate.

for your body is in burning need and the discipline to go against his word has betrayed you.

you hear his belt come undone, the weight of his clothes hitting the carpeted ground before the mattress around your legs sink again.

"oh... princess~" he sings, coaxing you out of your mental begging that this was just a nightmare.

a corner drags across your stomach, and your eyes fly open to see his fingers wrapped around a bottle of acrylic paint, completely oblivious to him pulling your underwear off your legs.

black.

the only color that was still relatively abundant.

then the sight of his nudity drives you up a wall inside your head; better yet, driving your resignation up against your own skull.

the lines of his pelvic bone leading down to his manhood all for your eyes to feast on, and even if you wanted to look away, you couldn't.

fuck.

"listen to me very carefully, princess..." he shakes the bottle, then proceeds to unscrew the cap. "I'm sure you don't want any of these on your bed, right?"

chills run through your body when he tilts the bottle over, squeezing the paint onto his palms.

"so," he blinks back to you, eyes wide and cautious. "my advice?"

and with that, he carefully caps the bottle, effortlessly tossing it over his shoulder and back into the box.

he presses his palms together, spreading the paint across his skin.

"don't move too much."

with a wide grin, he smudges the paint into your thighs and up your stomach, sliding the paint all the way to your breasts where he offers a harsh grip.

he doesn't give you a chance to respond to that before he slides himself into you, your neediness allowing him entrance far too easily.

by now, your body was somewhat conditioned to recognise his size, but the idea of him buried deep inside you and his groaning coating the room makes you a little more feral; a little more insane.

the whimper that runs off your tongue is mercilessly lapped up by him when he leans over to kiss you, tongue shoved into your mouth in a bid to shut you up.

he rolls his hips back and forth, unwilling to stop and definitely unwilling to give you any kind of mercy when it comes to making you lose your grip on reality.

he pulls away and resumes an upright position, abs flexed and his palms still gripping onto your chest like his life depended on it.

but eric seems to be a little on edge himself, for this was his first time seeing all of you under him, instead of your humility covered by a dress or a skirt and worrying about being caught in school.

no.

now, he can feast his eyes on you like the predator he is.

not only does he decide to leave his own marks, but marks that you gave him access to.

his handprints are black on your skin and the entire bed is jerking along with every thrust he's offering you.

you finally let out a strained cry, tears collecting in your eyes with the bliss rushing through you over and over again like a broken record. eric's breath turns shaky, and his grip on you begins to loosen when his thighs start to convulse.

by some miracle, the last thrust hits your climax and he pulls out almost immediately after to coat the paint on your stomach with himself.

cream on black.

eric huffs arrogantly, taking deep breaths to retain his breathing as he releases you, stepping back to take in the sight of you in your own bed, ruined by him.

"you definitely look pretty in cuffs."

[unpopularwiththepopulace]

A retrospective on some of Broadway’s most important female costume designers across the last century

How much is our memory or perception of a production influenced by the manner in which we visually comprehend the characters for their physical appearance and attire? A lot.

How much attention in memory is often dedicated to celebrating the costume designers who create the visual forms we remember? Comparatively, not much.

Delving through the New York Public Library archives of late, I found I was able to zoom into pictures of productions like Sunday in the Park with George at a magnitude greater than before.

In doing so, I noticed myself marvelling at finer details on the costumes that simply aren’t visible from grainy 1985 proshots, or other lower resolution images.

And marvel I did.

At first, I began to set out to address the contributions made to the show by designer Patricia Zipprodt in collaboration with Ann Hould-Ward. Quickly I fell into a (rather substantial) tangent rabbit hole – concerning over a century’s worth of interconnected designers who are responsible for hundreds of some of the most memorable Broadway shows between them.

It is impossible to look at the work of just one or two of these women without also discussing the others that came before them or were inspired by them.

Journey with me then if you will on this retrospective endeavour to explore the work and legacy that some of these designers have created, and some of the contexts in which they did so.

A set of podcasts featuring Ann Hould-Ward, including Behind the Curtain (Ep. 229) and Broadway Nation (Eps. 17 and 18), invaluably introduce some of the information discussed here and, most crucially, provide a first-hand, verbal link back to this history. The latter show sets out the case for a “succession of dynamic women that goes back to the earliest days of the Broadway musical and continues right up to today”, all of whom “were mentored by one or more of the great [designers] before them, [all] became Tony award-winning [stars] in their own right, and [all] have passed on the [craft] to the next generation.”

A chronological, linear descendancy links these designers across multiple centuries, starting in 1880 with Aline Bernstein, then moving to Irene Sharaff, then to Patricia Zipprodt, then to the present day with Ann Hould-Ward. Other designers branch from or interact with this linear chronology in different ways, such as Florence Klotz and Ann Roth – who, like Patricia Zipprodt, were also mentored by Aline Bernstein – or Theoni V. Aldredge, who stands apart from this connected tree, but whose career closely parallels the chronology of its central portion. There were, of course, many other designers and women also working within this era that provided even further momentous contributions to the world of costume design, but in this piece, the focus will remain primarily on these seven figures.

As the main creditor of the designs for Sunday in the Park with George, let’s start with Patricia (Pat) Zipprodt.

Born in 1925, Pat studied at the Fashion Institute of Technology (FIT) in New York after winning a scholarship there in 1951. Through teaching herself “all of costume history by studying materials at the New York Public Library”, she passed her entrance exam to the United Scenic Artists Union in 1954. This itself was a feat only possible through Aline Bernstein’s pioneering steps in demanding and starting female acceptance into this same union for the first time just under 30 years previously.

Pat made her individual costume design debut a year after assisting Irene Sharaff on Happy Hunting in 1956 – Ethel Merman’s last new Broadway credit. Of the more than 50 shows she subsequently designed, some of Pat’s most significant musicals include: She Loves Me (1963) Fiddler on the Roof (1964) Cabaret (1966) Zorba (1968) 1776 (1969) Pippin (1972) Mack & Mabel (1974) Chicago (1975) Alice in Wonderland (1983) Sunday in the Park with George (1984) Sweet Charity (1986) Into the Woods (1987) - preliminary work

Other notable play credits included: The Little Foxes (1967) The Glass Menagerie (1983) Cat on a Hot Tin Roof (1990)

Yes. One person designed all of those shows. Many of the most beloved pieces in modern musical theatre history. Somewhat baffling.

Her work notably earned her 11 Tony nominations, 3 wins, an induction into the Theatre Hall of Fame in 1992, and the Irene Sharaff award for lifetime achievement in costume design in 1997.

By 1983, Pat was one of the most well-respected designers of her era. When the offer for Sunday in the Park with George came in, she was less than enamoured by being confined to the ill-suited basements at Playwright’s Horizons all day, designing full costumes for a story not even yet in existence. From-the-ground-up workshops are common now, but at the time, Sunday was one of the first of its kind.

Rather than flatly declining, she asked Ann Hould-Ward, previously her assistant and intern who had now been designing for 2-3 years on her own, if she was interested in collaborating. She was. The two divided the designing between them, like Pat creating Bernadette’s opening pink and white dress, and Ann her final red and purple dress.

Which indeed leads to the question of the infamous creation worn in the opening number. No attemptedly comprehensive look at the costumes in Sunday would be complete without addressing it or its masterful mechanics.

To enable Bernadette to spring miraculously and seemingly effortlessly from her outer confines, Ann and Pat enlisted the help of a man with a “Theatre Magics” company in Ohio. Dubbed ‘The Iron Dress’, the gasp-inducing motion required a wire frame embedded into the material, entities called ‘moonwalker legs and feet’, and two garage door openers coming up through the stage to lever the two halves apart. The mechanism – highly impressive in its periods of functionality – wasn’t without its flaws. Ann recalls “there were nights during previews where [Bernadette] couldn’t get out of the dress”. Or worse, a night where “the dress closed up completely. And it wouldn’t open up again!”. As Bernadette finished her number, there was nothing else within her power she could do, so she simply “grabbed it under her arm and carried it off stage.”

What visuals. Evidently, the course of costume design is not always plain sailing.

This sentiment is exhibited in the fact design work is a physical materialisation of other creators’ visions, thus foregrounding the tricky need for collaboration and compromise. This is at once a skill, very much part of the job description, and not always pleasant – in navigating any divides between one’s own ideas and those of other people.

Sunday in the Park with George was no exception in requiring such a moment of compromise and revision. With the show already on Broadway in previews, Stephen Sondheim decreed the little girl Louise’s dress “needs to be white” – not the “turquoisey blue” undertone Pat and Ann had already created it with. White, to better spotlight the painting’s centre.

Requests for alterations are easier to comprehend when they are done with equanimity and have justification. Sondheim said he would pay for the new dress himself, and in Seurat’s original painting, the little girl is very brightly the focal centre point of the piece. On this occasion, all agreed that Sondheim was “absolutely right”. A new dress was made.

Other artistic differences aren’t always as amicable.

In Pat Zipprodt’s first show, Happy Hunting with Ethel Merman in 1956, some creatives and directors were getting in vociferous, progress-stopping arguments over a dress and a scene in which Ethel was to jump over a fence. Then magically, the dress went missing. Pat was working at the time as an assistant to the senior Irene Sharaff, and Pat herself was the one to find the dress the next morning. It was in the basement. Covered in black and wholly unwearable. Sharaff had spray painted the dress black in protest against the “bickering”. Indeed, Sharaff disappeared, not to be seen again until the show arrived on Broadway.

Those that worked with her soon found that Sharaff was one to be listened to and respected – as Hal Prince did during West Side Story. After the show opened in 1957, Hal replaced her 40 pairs of meticulously created and individually dyed, battered, and re-dyed jeans with off-the-rack copies. His reasoning was this: “How foolish to be wasting money when we can make a promotional arrangement with Levi Strauss to supply blue jeans free for program credit?” A year later, he looked at their show, and wondered “What’s happened?”

What had happened was that the production had lost its spark and noticeable portions of its beauty, vibrancy, and subtle individuality. Sharaff’s unique creations quickly returned, and Hal had learned his lesson. By the time Sharaff’s mentee, Pat, had “designed the most expensive rags for the company to wear” with this same idiosyncratic dyeing process for Fiddler on the Roof in 1964, Hal recognised the value of this particularity and the disproportionately large payoff even ostensibly simple garments can bring.

Irene Sharaff is remembered as one of the greatest designers ever. Born in 1910, she was mentored by Aline Bernstein, first assisting her on 1928’s original staging of Hedda Gabler.

Throughout her 56 year career, she designed more than 52 Broadway musicals. Some particularly memorable entities include: The Boys from Syracuse (1938) Lady in the Dark (1943) Candide (1956) Happy Hunting (1956) Sweet Charity (1966) The King and I (1951, 1956) West Side Story (1957, 1961) Funny Girl (1964, 1968)

For the last three productions, she would reprise her work on Broadway in the subsequent and indelibly enduring film adaptations of the same shows. 

Her work in the theatre earned her 6 Tony nominations and 1 win, though her work in Hollywood was perhaps even more well rewarded – earning 5 Academy Awards from a total of 15 nominations.

Some of Sharaff’s additional film credits included: Meet Me in St. Louis (1944) Ziegfeld Follies (1946) An American in Paris (1951) Call Me Madam (1953) A Star is Born (1954) – partial Guys and Dolls (1955) Cleopatra (1963) Who’s Afraid of Virginia Woolf? (1966) Hello Dolly! (1969) Mommie Dearest (1981)

It’s a remarkable list. But it is too more than just a list.

Famously, Judy’s red scarlet ballgown in Meet Me in St. Louis was termed the “most sophisticated costume [she’d] yet worn on the screen.”

It has been written that Sharaff’s “last film was probably the only bad one on which she worked,” – the infamous pillar of camp culture, Mommie Dearest, in 1981 – “but its perpetrators knew that to recreate the Hollywood of Joan Crawford, it required an artist who understood the particular glamour of the Crawford era.” And at the time, there were very few – if any – who could fill that requirement better than Irene Sharaff. 

The 1963 production of Cleopatra is perhaps an even more infamous endeavour. Notoriously fraught with problems, the film was at that point the most expensive ever made. It nearly bankrupted 20th Century Fox, in light of varying issues like long production delays, a revolving carousel of directors, the beginning of the infamous Burton/Taylor affair and resulting media storm, and bouts of Elizabeth’s ill-health that “nearly killed her”. In that turbulent environment, Sharaff is highlighted as one of the figures instrumental in the film’s eventual completion – “adjusting Elizabeth Taylor’s costumes when her weight fluctuated overnight” so the world finally received the visual spectacle they were all ardently anticipating.

But even beyond that, Sharaff’s work had impacts more significantly and extensively than the immediate products of the shows or films themselves. Within a few years of her “vibrant Thai silk costumes for ‘The King and I’ in 1951, …silk became Thailand’s best-known export.” Her designs changed the entire economic landscape of the country. 

It’s little wonder that in that era, Sharaff was known as “one of the most sought-after and highest-paid people in her profession.” With discussions and favourable comparisions alongside none other than Old Hollywood’s most beloved designer, Edith Head, Irene deserves her place in history to be recognised as one of the foremost significant pillars of the design world.

In this respected position, Irene Sharaff was able to pass on her knowledge by mentoring others too as well as Patricia Zipprodt, like Ann Roth and Florence Klotz, who have in turn gone on to further have their own highly commendable successes in the industry.

Florence “Flossie” Klotz, born in 1920, is the only Broadway costume designer to have won six Tony awards. She did so, all of them for musicals, and all of them directed by Hal Prince, in a marker of their long and meaningful collaboration.

Indeed, Flossie’s life partner was Ruth Mitchell – Hal’s long-time assistant, and herself legendary stage manager, associate director and producer of over 43 shows. Together, Flossie and Ruth were dubbed a “power couple of Broadway”.

Flossie’s shows with Hal included: Follies (1971) A Little Night Music (1973) Pacific Overtures (1976) Grind (1985) Kiss of the Spiderwoman (1993) Show Boat (1995)

And additional shows amongst her credits extend to: Side by Side by Sondheim (1977) On the Twentieth Century (1978) The Little Foxes (1981) A Doll’s Life (1982) Jerry’s Girls (1985)

Earlier in her career, she would first find her footing as an assistant designer on some of the Golden Age’s most pivotal shows like: The King and I (1951) Pal Joey (1952) Silk Stockings (1955) Carousel (1957) The Sound of Music (1959)

The original production of Follies marked the first time Florence was seriously recognised for her work. Before this point, she was not yet anywhere close to being considered as having broken into the ranks of Broadway’s “reigning designers” of that era. Follies changed matters, providing both an indication of the talent of her work to come, and creating history in being commended for producing some of the “best costumes to be seen on Broadway” in recent memory – as Clive Barnes wrote in The New York Times. Fuller discussion is merited given that the costumes of Follies are always one of the show’s central points of debate and have been crucial to the reception of the original production as well as every single revival that has followed in the 50 years since.

In this instance, Ted Chapin would record from his book ‘Everything Was Possible: The Birth of the Musical ‘Follies’ how “the costumes were so opulent, they put the show over-budget.” Moreover, that “talking about the show years later, [Florence] said the costumes could not be made today. ‘Not only would they cost upwards of $2 million, but we used fabrics from England that aren’t even made anymore.’” Broadway then does indeed no longer look like Broadway now.

This “surreal tableau” Flossie created, including “three-foot-high ostrich feather headdresses, Marie Antoinette wigs adorned with musical instruments and birdcages, and gowns embellished with translucent butterfly wings”, remains arguably one of the most impressive and jaw-dropping spectacles to have ever graced a Broadway stage even to this day.

As for Ann Roth, born in 1931, she is still to this day making her own history – recently becoming the joint eldest nominee at 89 for an Oscar (her 5th), for her work on 2020′s Ma Rainey’s Black Bottom. Now as of April 26th, Ann has just made history even further by becoming the oldest woman to win a competitive Academy Award ever. She has an impressive array of Hollywood credits to her name in addition to a roster of Broadway design projects, which have earned her 12 Tony nominations.

Some of her work in the theatre includes: The Women (1973) The Best Little Whorehouse in Texas (1978) They're Playing Our Song (1979) Singin' in the Rain (1985) Present Laughter (1996) Hedda Gabler (2009) A Raisin in the Sun (2014) Shuffle Along (2016) The Prom (2018)

Making her way over to Hollywood in the ‘70s, she has left an indelible and lasting visual impact on the arts through films like: Klute (1971) The Goodbye Girl (1977) Hair (1979) 9 to 5 (1980) Silkwood (1983) Postcards from the Edge (1990) The Birdcage (1996) The Hours (2002) Mamma Mia! (2008) Ma Rainey’s Black Bottom (2020)

It’s clear from this branching 'tree' to see how far the impact of just one woman passing on her time and knowledge to others who are starting out can spread.

This art of acting as a conduit for valuable insights was something Irene Sharaff had learned from her own mentor and predecessor, Aline Bernstein. Aline was viewed as “the first woman in the [US] to gain prominence in the male-dominated field of set and costume design,” and was too a strong proponent of passing on the unique knowledge she had acquired as a pioneer and forerunner in the field. 

Born in 1880, Bernstein is recognised as “one of the first theatrical designers in New York to make sets and costumes entirely from scratch and craft moving sets” while Broadway was still very much in its infancy of taking shape as the world we know today. This she did for more than one hundred shows over decades of her work in the theatre. These shows included the spectacular Grand Street Follies (1924-27), and original premier productions of plays like some of the following: Ibsen’s Hedda Gabler (1928) J.M Barrie’s Peter Pan (1928) Grand Hotel (1930) Phillip Barry’s Animal Kingdom (1932) Chekov’s The Seagull (1937) Both Lillian Hellman’s The Children’s Hour (1934) and The Little Foxes (1939)

Beyond direct design work, Bernstein founded what was to become the Neighbourhood Playhouse (the notable New York acting school) and was influential in the “Little Theatre movement that sprung up across America in 1910”. These were the “forerunners of the non-profit theatres we see today” and she continued to work in this realm even after moving into commercial theatre.

Bernstein also established the Museum of Costume Art, which later became the Costume Institute of the Met Museum of Art, where she served as president from 1944 to her death in 1955. This is what the Met Gala raises money for every year. So for long as you have the world’s biggest celebrities parading up and down red carpets in high fashion pieces, you have Aline Bernstein to remember – as none of that would be happening without her.

During the last fifteen years of her life, Bernstein taught and served as a consultant in theatre programs at academic institutions including Yale, Harvard, and Vassar – keen to connect the community and facilitate an exchange of wisdom and information to new descendants and the next generation.

Many designers came somewhere out of this linear descendancy. One notable exception, with no American mentor, was Theoni V. Aldredge. Born in 1922 and trained in Greece, Theoni emigrated to the US, met her husband, Tom Aldredge – himself of Into the Woods and theatre notoriety – and went on to design more than 100 Broadway shows. For her work, she earned 3 Tony wins from 11 nominations from projects such as: Anyone Can Whistle (1964) A Chorus Line (1975) Annie (1977) Barnum (1980) 42nd Street (1980) Woman of the Year (1981) Dreamgirls (1981) La Cage aux Folles (1983) The Rink (1984)

One of the main features that typify Theoni’s design style and could be attributed to a certain unique and distinctive “European flair” is her strong use of vibrant colour. This is a sentiment instantly apparent in looking longitudinally at some of her work.

In Ann Hould-Ward’s words, Theoni speaks to the “great generosity” of this profession. Theoni went out of her way to call Ann apropos of nothing early in the morning at some unknown hotel just after Ann won her first Tony for Beauty and the Beast in 1994, purring “Dahhling, I told you so!” These were women that had their disagreements, yes, but ultimately shared their knowledge and congratulated each other for their successes.

Similar anecdotal goodwill can be found in Pat Zipprodt’s call to Ann on the night of the 1987 Tony’s – where Ann was nominated for Into the Woods – with Pat singing “Have wonderful night! You’re not gonna win! …[laugh] but I love you anyway!”

This well-wishing phone call is all the more poignant considering Pat was originally involved with doing the costumes for Into the Woods, in reprise of their previous collaboration on Sunday in the Park with George.

If, for example, Theoni instinctively is remembered for bright colour, one of the features that Pat is first remembered for is her dedicated approach to research for her designs. Indeed, the New York Public Library archives document how the remaining physical evidence of this research she conducted is “particularly thorough” in the section on Into the Woods. Before the show finally hit Broadway in 1987 with Ann Hould-Ward’s designs, records show Pat had done extensive investigation herself into materials, ideas and prospective creations all through 1986.

Both Ann and Pat worked on the show out of town in try-outs at the Old Globe theatre in San Diego. But when it came to negotiating Broadway contracts, the situation became “tricky” and later “untenable” with Pat and the producers. Ann was “allowed to step in and design” the show alone instead.

The lack of harboured resentment on Patricia’s behalf speaks to her character and the pair’s relationship, such that Ann still considered her “my dear and beloved friend” for over 25 years, and was “at [Pat’s] bed when she died”.

Though they parted ways ultimately for Into the Woods, you can very much feel a continuation between their work on Sunday in the Park with George a few years previously, especially considering how tactile the designs appear in both shows. This tactility is something the shows’ book writer and director, James Lapine, was specific about. Lapine would remark in his initial ideas and inspirations that he wanted a graphic quality to the costumes on this occasion, like “so many sketches of the fairy-tales do”.

Ann fed that sentiment through her final creations, with a wide variety of materials and textures being used across the whole show – like “ribbons with ribbons seamed through them”, “all sorts of applique”, “frothy organzas and rembriodered organzas”. A specific example documents how Joanna Gleason’s shawl as the Baker’s Wife was pieced together, cut apart, and put back together again before resembling its final form.

This highly involved principle demonstrates another manner of inventive design that uses a different method but maintains the aim of particularity as discussed previously with Patricia and Irene’s complex dyeing and re-dyeing process. Pushing the confines of what is possible with the materials at hand to create a variety of colours, shades, and textures ultimately produces visual entities that are complex to look at. Confusing the eye like this “holds attention longer”, Ann maintains, which makes viewers look more intricately at individual segments of the production, and enables the costume design to guide specific focus by not immediately ceding attention elsewhere.

Understanding the methods behind the resultant impacts of a show can be as, if not more, important and interesting than the final product of the show itself sometimes. A phone call Ann had last August with James Lapine reminds us this is a notion we may be treated more to in the imminent future, when he called to enquire as to the location of some design sketches for the book he is working on (Putting It Together: How Stephen Sondheim and I Created 'Sunday in the Park with George') to document more thoroughly the genesis of the pair’s landmark and beloved musical.

In continuation of the notion that origin stories contain their own intrinsic value beyond any final product, Ann first became Pat’s intern through a heart-warming and tenacious tale. Ann sent letters to three notable designers when finishing graduate school. Only Patricia Zipprodt replied, with a message to say she “didn’t have anything now but let me think about it and maybe in the future.” It got to the future, and Ann took the encouragement of her previous response to try and contact Pat again. Upon being told she was out of town with a show, Ann proceeded to chase Pat through various phone books and telephone wires across different states and theatres until she finally found her. She was bolstered by the specifics of their call and ran off the phone to write an imploring note – hinging on the premise of a shared connection to Montana. She took an arrow, stabbed it through a cowboy hat, put it in a box with the note that was written on raw hide, and mailed it to New York with bated breath and all of her hopes and wishes.

Pat was knife-edgingly close to missing the box, through a matter of circumstance and timing. Importantly, she didn’t. Ann got a response, and it boded well: “Alright alright alright! You can come to New York!”

Subsequently, Ann’s long career in the design world of the theatre has included notable credits such as: Sunday in the Park with George (1984) Into the Woods (1987, 1997) Falsettos (1992) Beauty and the Beast (1994, 1997) Little Me (1998) Company (2006) Road Show (2008) The People in the Picture (2011) Merrily We Roll Along (1985, 1990, 2012, segment in Six by Sondheim 2013) Passion (2013) The Visit (2015) The Color Purple (2015) The Prince of Egypt (2021)

From early days in the city sleeping on a piece of foam on a friend’s floor, to working collaboratively alongside Pat, to using what she’d learnt from her mentor in designing whole shows herself, and going on to win prestigious awards for her work – the cycle of the theatre and the importance of handing down wisdom from those who possess it is never more evident.

As Ann summarises it meaningfully, “the theatre is a continuing, changing, evolving, emotional ball”. It’s raw, it’s alive, it needs people, it needs stories, it needs documentation of history to remember all that came before.

In periods where there can physically be no new theatre, it’s made ever the more clear for the need not to forget what value there is in the tales to be told from the past.

Through this retrospective, we’ve seen the tour de force influence of a relatively small handful of women shaping a relatively large portion of the visual scape of some of Broadway’s brightest moments.

But it’s significant to consider how disproportionate this female impact was, in contrast with how massively male dominated the rest of the creative theatre industry has been across the last century.

Assessing variations in attitudes and approaches to relationships and families in these women in the context of their professional careers over this time period presents interesting observations. And indeed, manners in which things have changed over the past hundred years.

As Ann Hould-Ward speaks of her experiences, one of her reflections is how much this was a “very male dominated world”. And one that didn’t accommodate for women with families who also wanted careers. As an intern, she didn’t even feel she could tell Patricia Zipprodt about the existence of her own young child until after 6 months of working with her. With all of these male figures around them, it would be often questioned “How are you going to do the work? How are you going to manage [with a family]?”, and that it was “harder to convince people that you were going to be able to do out-of-towns, to be able to go places.” Simply put, the industry “didn't have many designers who were married with children.”

Patricia herself in the previous generation demonstrates this restricting ethos. “In 1993, Zipprodt married a man whose proposal she had refused some 43 years earlier.” She had just newly graduated college and “she declined [his proposal] and instead moved to New York.” Faced with the family or career conundrum, she chose the latter. By the 1950s, it then wasn’t seen as uncommon to have both, it was seen as impossible.

Her husband died just five years after the pair were married in 1998, as did Patricia herself the following year. One has to wonder if alternative decisions would’ve been made and lives lived differently if she’d experienced a different context for working women in her younger life.

But occupying any space in the theatre at all was only possible because of the efforts of and strides made by women in previous generations.

When Aline Bernstein first started designing for Broadway theatre in 1916, women couldn’t even vote. She became the first female member of the United Scenic Artists of America union in 1926, but only because she was sworn in under the false and male moniker of brother Bernstein. In fact, biographies often centralise on her involvement in a “passionate” extramarital love affair with novelist Thomas Wolfe – disproportionately so for all of her remarkable contributions to the theatrical, charitable and academic worlds, and instead having her life defined through her interactions with men.

As such, it is apparent how any significant interactions with men often had direct implications over a woman’s career, especially in this earlier half of the century. Only in their absence was there comparative capacity to flourish professionally.

Irene Sharaff had no notable relationships with men. She did however have a significant partnership with Chinese-American painter and writer Mai-mai Sze from “the mid-1930s until her death”. Though this was not (nor could not be) publicly recognised or documented at the time, later by close acquaintances the pair would be described as a “devoted couple”, “inseparable”, and as holding “love and admiration for one another [that] was apparent to everyone who knew them.” This manner of relationship for Irene in the context of her career can be theorised as having allowed her the capacity to “reach a level of professional success that would have been unthinkable for most straight women of [her] generation”.

Moving forwards in time, Irene and Mai-mai presently rest where their ashes are buried under “two halves of the same rock” at the entrance to the Music and Meditation Pavilion at Lucy Cavendish College in Cambridge, which was “built following a donation by Sharaff and Sze”. I postulate that this site would make for an interesting slice of history and a perhaps more thought-provoking deviation for tourists away from being shepherded up and down past King’s College on King’s Parade as more usually upon a visit to Cambridge.

In this more modern society at the other end of this linear tree of remarkable designers, options for women to be more open and in control of their personal and professional lives have increased somewhat.

Ann Hould-Ward later in her career would no longer “hide that [she] was a mother”, in fear of not being taken seriously. Rather, she “made a concerted effort to talk about [her] child”, saying “because at that point I had a modicum of success. And I thought it was supportive for other women that I could do this.”

If one aspect passed down between these women in history are details of the craft and knowledge accrued along the way, this statement by Ann represents an alternative facet and direction that teaching of the future can take. Namely, that by showing through example, newer generations will be able to comprehend the feasibility of occupying different options and spaces as professional women. Existing not just as designers, or wives, or mothers, or all, or one – but as people, who possess an immense talent and skill. And that it is now not just possible, but common, to be multifaceted and live the way you want to live while working.

This is not to say all of the restrictions and barriers faced by women in previous generations have been removed, but rather that as we build a larger wealth of history of women acting with autonomy and control to refer back to, things can only get easier to build upon for the future.

Who knows what Broadway and theatre in general will look like when it returns – both on the surface with respect to this facet of costume design, and also more deeply as to the inner machinations of how shows are put together and presented. The largely male environment and the need to tick corporate and commercial boxes will not have vanished. One can only hope that this long period of stasis will have foregrounded the need and, most importantly, provided the time to revaluate the ethos in which shows are often staged, and the ways in which minority groups – like women – are able to work and be successful within the theatre in all of the many shows to come. 

Notable sources:

Photographs – predominantly from the New York Public Library digital archives. IBDB – the Internet Broadway Database. Broadway Nation Podcast (Eps. #17 and #18), David Armstrong, featuring Ann Hould-Ward, 2020. Behind the Curtain: Broadway’s Living Legends Podcast (Ep. #229), Robert W Schneider and Kevin David Thomas, featuring Ann Hould-Ward, 2020. Sense of Occasion, Harold Prince, 2017. Everything Was Possible: The Birth of the Musical ‘Follies’, Ted Chapin, 2003. Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes, Stephen Sondheim, 2010. The Complete Book of 1970s Broadway Musicals, Dan Deitz, 2015. The Complete Book of 1980s Broadway Musicals, Dan Dietz, 2016. Inventory of the Patricia Zipprodt Papers and Designs at the New York Public Library, 2004 – https://www.nypl.org/sites/default/files/archivalcollections/pdf/thezippr.pdf Extravagant Crowd’s Carl Van Vecten’s Portraits of Women, Aline Bernstein – http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/bernstein.html Jewish Heroes & Heroines of America: 150 True Stories of American Jewish Heroism – Aline Bernstein, Seymour Brody, 1996 – https://www.jewishvirtuallibrary.org/aline-bernstein Ann Hould-Ward Talks Original “Into the Woods” Costume Designs, 2016 – https://www.youtube.com/watch?v=4EPe77c6xzo&ab_channel=Playbill American Theatre Wing’s Working in the Theatre series, The Design Panel, 1993 – https://www.youtube.com/watch?v=9sp-aMQHf-U&t=2167s&ab_channel=AmericanTheatreWing Journal of the History of Ideas Blog, Mai-mai Sze and Irene Sharaff in Public and in Private, Erin McGuirl, 2016 – https://jhiblog.org/2016/05/16/mai-mai-sze-and-irene-sharaff-in-public-and-in-private/ Irene Sharaff’s obituary, The New York Times, Marvine Howe, 1993 – https://www.nytimes.com/1993/08/17/obituaries/irene-sharaff-designer-83-dies-costumes-won-tony-and-oscars.html Obituary: Irene Sharaff, The Independent, David Shipman, 2011 – https://www.independent.co.uk/news/people/obituary-irene-sharaff-1463219.html Broadway Design Exchange – Florence Klotz – https://www.broadwaydesignexchange.com/collections/florence-klotz Obituary: Florence Klotz, The New York Times, 2006 – https://www.nytimes.com/2006/11/03/obituaries/03klotz.html