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turnstileskyline · 11 months ago

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The Oral History of Take This To Your Grave – transcription under the cut

The pages that are just photographs, I haven't included. This post is already long enough.

Things that happened in 2003: Arnold Schwarzenegger became governor of California. Teen Vogue published its first issue. The world lost Johnny Cash. Johnny Depp appeared as Captain Jack Sparrow for the first time. A third Lord of the Rings movie arrived. Patrick Stump, Pete Wentz, Joe Trohman, and Andy Hurley released Take This To Your Grave.

"About 21 years ago or so, as I was applying to colleges I would ultimately never go to, Fall Out Boy began as a little pop-punk side project of what we assumed was Pete's more serious band, Arma Angelus," Patrick wrote in a May 2023 social media post.

"We were sloppy and couldn't solidify a lineup, but the three of us (Pete, Joe, and I) were having way too much fun to give up on it."

"We were really rough around the edges. As an example of how rough, one of my favorite teachers pulled me aside after hearing the recording that would eventually become Evening Out With Your Girlfriend and tactfully said, 'What do you think your best instrument is, Patrick? Drums. It's drums. Probably not singing, Patrick.'"

"We went into Smart Studios with the Sean O'Keefe... So, there we were, 3/5 of a band with a singer who'd only been singing a year, no drummer, and one out of two guitarists. But we had the opportunity to record with Sean at Butch Vig's legendary studio.

"Eight or so months later, Fueled by Ramen would give us a contract to record the remaining songs. We'd sleep on floors, eat nothing but peanut butter and jelly, live in a van for the next three years, and somehow despite that, eventually play with Elton John and Taylor Swift and Jay-Z and for President Obama and the NFC championship, and all these other wildly unpredictable things. But none of that would ever come close to happening if Andy hadn't made it to the session and Joe hadn't dragged us kicking and screaming into being a band."

Two decades after its release, Take This To Your Grave sits comfortable in the Top 10 of Rolling Stone's 50 Greatest Pop-Punk Albums, edging out landmark records from Buzzcocks, Generation X, Green Day, The Offspring, Blink-182, and The Ramones.

It even ranked higher than Through Being Cool by Saves The Day and Jersey's Best Dancers from Lifetime, two records the guys in Fall Out Boy particularly revere.

Fall Out Boy's proper full-length debut on Fueled by Ramen is a deceptively smart, sugar-sweet, raw, energetic masterpiece owing as much to the bass player's pop culture passions, the singers deep love of R&B and soul, and their shared history in the hardcore scene as any pioneering punk band. Fall Out Boy's creative and commercial heights were still ahead, but Take This To Your Grave kicked it off, a harbinger for the enduring songwriting partnership between Patrick Stump and Pete Wentz, the eclectic contributions from Joe Trohman, and the propulsive powerhouse that is Andy Hurley.

The recordings document a special moment when Fall Out Boy was big in "the scene" but a "secret" from the mainstream. The band (and some of their friends) first sat down for an Oral History (which doubled as an Oral History of their origin story) with their old friend Ryan J. Downey, then Senior Editor for Alternative Press, upon the occasion of the album's 10th anniversary. What follows is an updated, sharper, and expanded version of that story, newly re-edited in 2023. As Patrick eloquently said: "Happy 20th birthday, Take This To Your Grave, you weird brilliant lightning strike accident of a record."

– Ryan J. Downey.

A Weird, Brilliant Lightning Strike Of A Record. The Oral History Of Fall Out Boy's Take This To Your Grave.

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

"To Feel No More Bitterness Forever" - From Hardcore to Softcore, 1998-2000

PETE WENTZ: When I got into hardcore, it was about discovering the world beyond yourself. There was a culture of trying to be a better person. That was part of what was so alluring about hardcore and punk for me. But for whatever reason, it shifted. Maybe this was just in Chicago, but it became less about the thought process behind it and more about moshing and breakdowns. There was a close-mindedness that felt very reactive.

TIM MCILRITH: I saw First Born many years ago, which was the first time I saw Pete and met him around then. This was '90s hardcore - p.c., vegan, activist kind of hardcore music. Pete was in many of those bands doing that kind of thing, and I was at many of those shows. The hardcore scene in Chicago was pretty small, so everyone kind of knew each other. I knew Andy Hurley as the drummer in Racetraitor. I was in a band called Baxter, so Pete always called me 'Baxter.' I was just 'Baxter' to a lot of those guys.

JOE TROHMAN: I was a young hardcore kid coming to the shows. The same way we all started doing bands. You're a shitty kid who goes to punk and hardcore shows, and you see the other bands playing, and you want to make friends with those guys because you want to play in bands too. Pete and I had a bit of a connection because we're from the same area. I was the youngest dude at most shows. I would see Extinction, Racetraitor, Burn It Down, and all the bands of that era.

WENTZ: My driver's license was suspended then, so Joe drove me everywhere. We listened to either Metalcore like Shai Hulud or pop-punk stuff like Screeching Weasel.

MCILRITH: I was in a band with Pete called Arma Angelus. I was like their fifth or sixth bass player. I wasn't doing anything musically when they hit me up to play bass, so I said, 'Of course.' I liked everyone in the band. We were rehearsing, playing a few shows here and there, with an ever-revolving cast of characters. We recorded a record together at the time. I even sing on that record, believe it or not, they gave me a vocal part. Around that same time, I began meeting with [bassist] Joe [Principe] about starting what would become Rise Against.

CHRIS GUTIERREZ: Wentz played me the Arma Angelus demo in the car. He said he wanted it to be a mix of Despair, Buried Alive, and Damnation A.D. He told me Tim was leaving to start another band - which ended up being Rise Against - and asked if I wanted to play bass.

TROHMAN: Pete asked me to fill in for a tour when I was 15. Pete had to call my dad to convince him to let me go. He did it, too. It was my first tour, in a shitty cargo van, with those dudes. They hazed the shit out of me. It was the best and worst experience. Best overall, worst at the time.

GUTIERREZ: Enthusiasm was starting to wane in Arma Angelus. Our drummer was really into cock-rock. It wasn't an ironic thing. He loved L.A. Guns, Whitesnake, and Hanoi Rocks. It drove Pete nuts because the scene was about Bleeding Through and Throwdown, not cock rock. He was frustrated that things weren't panning out for the band, and of course, there's a ceiling for how big a metalcore band can get, anyway.

MANI MOSTOFI: Pete had honed this tough guy persona, which I think was a defense mechanism. He had some volatile moments in his childhood. Underneath, he was a pretty sensitive and vulnerable person. After playing in every mosh-metal band in the Midwest and listening exclusively to Earth Crisis, Damnation A.D., Chokehold, and stuff like that for a long time, I think Pete wanted to do something fresh. He had gotten into Lifetime, Saves The Day, The Get Up Kids, and bands like that. Pete was at that moment where the softer side of him needed an outlet, and didn't want to hide behind mosh-machismo. I remember him telling me he wanted to start a band that more girls could listen to.

MCILRATH: Pete was talking about starting a pop-punk band. Bands like New Found Glory and Saves The Day were successful then. The whole pop-punk sound was accessible. Pete was just one of those guys destined for bigger things than screaming for mediocre hardcore bands in Chicago. He's a smart guy, a brilliant guy. All the endeavors he had taken on, even in the microcosm of the 1990s Chicago hardcore world, he put a lot of though into it. You could tell that if he were given a bigger receptacle to put that thought into, it could become something huge. He was always talented: lyrics, imagery, that whole thing. He was ahead of the curve. We were in this hardcore band from Chicago together, but we were both talking about endeavors beyond it.

TROHMAN: The drummer for Arma Angelus was moving. Pete and I talked about doing something different. It was just Pete and me at first. There was this thuggishness happening in the Chicago hardcore scene at that time that wasn't part of our vibe. It was cool, but it wasn't our thing.

MCILRITH: One day at Arma Angelus practice, Pete asked me, 'Are you going to do that thing with Joe?' I was like, 'Yeah, I think so.' He was like, 'You should do that, dude. Don't let this band hold you back. I'll be doing something else, too. We should be doing other things.' He was really ambitious. It was so amazing to me, too, because Pete was a guy who, at the time, was kind of learning how to play the bass. A guy who didn't really play an instrument will do down in history as one of the more brilliant musicians in Chicago. He had everything else in his corner. He knew how to do everything else. He needed to get some guys behind him because he had the rest covered. He had topics, themes, lyrics, artwork, this whole image he wanted to do, and he was uncompromising. He also tapped into something the rest of us were just waking up to: the advent of the internet. I mean, the internet wasn't new, but higher-speed internet was.

MOSTOFI: Joe was excited to be invited by Pete to do a band. Joe was the youngest in our crew by far, and Pete was the 'coolest' in a Fonzie sort of way. Joe deferred to Pete's judgement for years. But eventually, his whole life centered around bossy big-brother Pete. I think doing The Damned Things was for Joe what Fall Out Boy was for Pete, in a way. It was a way to find his own space within the group of friends. Unsurprisingly, Joe now plays a much more significant role in Fall Out Boy's music.

WENTZ: I wanted to do something easy and escapist. When Joe and I started the band, it was the worst band of all time. I feel like people said, 'Oh, yeah, you started Fall Out Boy to get big.' Dude, there was way more of a chance of every other band getting big in my head than Fall Out Boy. It was a side thing that was fun to do. Racetraitor and Extinction were big bands to me. We wanted to do pop-punk because it would be fun and hilarious. It was definitely on a lark. We weren't good. If it was an attempt at selling out, it was a very poor attempt.

MCILRITH: It was such a thing for people to move from hardcore bands to bands called 'emo' or pop-punk, as those bands were starting to get some radio play and signed to major labels. Everyone thought it was easy, but it's not as easy as that. Most guys we knew who tried it never did anything more successful than their hardcore bands. But Pete did it! And if anyone was going to, it was going to be him. He never did anything half-assed. He ended up playing bass in so many bands in Chicago, even though he could barely play the bass then, because simply putting him in your band meant you'd have a better show. He was just more into it. He knew more about dynamics, about getting a crowd to react to what you're doing than most people. Putting Pete in your band put you up a few notches.

"I'm Writing You A Chorus And Here Is Your Verse" - When Pete met Patrick, early 2001.

MARK ROSE: Patrick Stump played drums in this grindcore band called Grinding Process. They had put out a live split cassette tape.

PATRICK STUMP: My ambition always outweighed my ability or actual place in the world. I was a drummer and played in many bands and tried to finagle my way into better ones but never really managed. I was usually outgunned by the same two guys: this guy Rocky Senesce; I'm not sure if he's playing anymore, but he was amazing. And this other guy, De'Mar Hamilton, who is now in Plain White T's. We'd always go out for the same bands. I felt like I was pretty good, but then those guys just mopped the floor with me. I hadn't been playing music for a few months. I think my girlfriend dumped me. I was feeling down. I wasn't really into pop-punk or emo. I think at the time I was into Rhino Records box sets.

TROHMAN: I was at the Borders in Eden's Plaza in Wilmette, Illinois. My friend Arthur was asking me about Neurosis. Patrick just walked up and started talking to me.

STUMP: I was a bit arrogant and cocky, like a lot of young musicians. Joe was talking kind of loudly and I overheard him say something about Neurosis, and I think I came in kind of snotty, kind of correcting whatever they had said.

TROHMAN: We just started talking about music, and my buddy Arthur got shoved out of the conversation. I told him about the band we were starting. Pete was this local hardcore celebrity, which intrigued Patrick.

STUMP: I had similar conversations with any number of kids my age. This conversation didn't feel crazy special. That's one of the things that's real about [Joe and I meeting], and that's honest about it, that's it's not some 'love at first sight' thing where we started talking about music and 'Holy smokes, we're going to have the best band ever!' I had been in a lot of bands up until then. Hardcore was a couple of years away from me at that point. I was over it, but Pete was in real bands; that was interesting. Now I'm curious and I want to do this thing, or at least see what happens. Joe said they needed a drummer, guitar player, or singer, and I kind of bluffed and said I could do any one of those things for a pop-punk band. I'd had a lot of conversations about starting bands where I meet up with somebody and maybe try to figure out some songs and then we'd never see each other again. There were a lot of false starts and I assumed this would be just another one of those, but it would be fun for this one to be with the guy from Racetraitor and Extinction.

TROHMAN: He gave me the link to his MP3.com page. There were a few songs of him just playing acoustic and singing. He was awesome.

WENTZ: Joe told me we were going to this kid's house who would probably be our drummer but could also sing. He sent me a link to Patrick singing some acoustic thing, but the quality was so horrible it was hard to tell what it was. Patrick answered the door in some wild outfit. He looked like an emo kid but from the Endpoint era - dorky and cool. We went into the basement, and he was like, trying to set up his drums.

TROHMAN: Patrick has said many times that he intended to try out on drums. I was pushing for him to sing after hearing his demos. 'Hey! Sing for us!' I asked him to take out his acoustic guitar. He played songs from Saves The Day's Through Being Cool. I think he sang most of the record to us. We were thrilled. We had never been around someone who could sing like that.

WENTZ: I don't think Patrick thought we were cool at all. We were hanging out, and he started playing acoustic guitar. He started singing, and I realized he could sing any Saves The Day song. I was like, 'Wow, that's the way those bands sound! We should just have you sing.' It had to be serendipity because Patrick drumming and Joe singing is not the same band. I never thought about singing. It wasn't the type of thing I could sing. I knew I'd be playing bass. I didn't think it'd even go beyond a few practices. It didn't seem like the thing I was setting myself up to do for the next several years of my life in any way. I was going to college. It was just a fun getaway from the rest of life kind of thing to do.

STUMP: Andy was the first person we asked to play drums. Joe even brought him up in the Borders conversation. But Andy was too busy. He wasn't really interested, either, because we kind of sucked.

WENTZ: I wanted Hurley in the band, I was closest to him at the time, I had known him for a long time. I identified with him in the way that we were the younger dudes in our larger group. I tried to get him, but he was doing another band at the time, or multiple bands. He was Mani's go-to guy to play drums, always. I had asked him a few times. That should clue people into the fact that we weren't that good.

ANDY HURLEY: I knew Joe as 'Number One Fan.' We called him that because he was a huge fan of a band I was in, Kill The Slavemaster. When Fall Out Boy started, I was going to college full-time. I was in the band Project Rocket and I think The Kill Pill then, too.

MOSTOFI: After they got together the first or second time, Pete played me a recording and said, 'This is going to be big.' They had no songs, no name, no drummer. They could barely play their instruments. But Pete knew, and we believed him because we could see his drive and Patrick's potential. Patrick was prodigy. I imagine the first moment Pete heard him sing was probably like when I heard 15-year-old Andy Hurley play drums.

GUTIERREZ: One day at practice, Pete told me he had met some dudes with whom he was starting a pop-punk band. He said it would sound like a cross between New Found Glory and Lifetime. Then the more Fall Out Boy started to practice, the less active Arma Angelus became.

TROHMAN: We got hooked up with a friend named Ben Rose, who became our original drummer. We would practice in his parents' basement. We eventually wrote some pretty bad songs. I don't even have the demo. I have copies of Arma's demo, but I don't have that one.

MOSTOFI: We all knew that hardcore kids write better pop-punk songs than actual pop-punk kids. It had been proven. An experienced hardcore musician could bring a sense of aggression and urgency to the pop hooks in a way that a band like Yellowcard could never achieve. Pete and I had many conversations about this. He jokingly called it 'Softcore,' but that's precisely what it was. It's what he was going for. Take This To Your Grave sounds like Hot Topic, but it feels like CBGBs.

MCILRITH: Many hardcore guys who transitioned into pop-punk bands dumbed it down musically and lyrically. Fall Out Boy found a way to do it that wasn't dumbed down. They wrote music and lyrics that, if you listened closely, you could tell came from people who grew up into hardcore. Pete seemed to approach the song titles and lyrics the same way he attacked hardcore songs. You could see his signature on all of that.

STUMP: We all had very different ideas of what it should sound like. I signed up for Kid Dynamite, Strike Anywhere, or Dillinger Four. Pete was very into Lifetime and Saves The Day. I think both he and Joe were into New Found Glory and Blink-182. I still hadn't heard a lot of stuff. I was arrogant; I was a rock snob. I was over most pop-punk. But then I had this renaissance week where I was like, 'Man, you know what? I really do like The Descendents.' Like, the specific week I met Joe, it just happened to be that I was listening to a lot of Descendents. So, there was a part of me that was tickled by that idea. 'You know what? I'll try a pop-punk band. Why not?'

MOSTOFI: To be clear, they were trying to become a big band. But they did it by elevating radio-friendly pop punk, not debasing themselves for popularity. They were closely studying Drive-Thru Records bands like The Starting Line, who I couldn't stand. But they knew what they were doing. They extracted a few good elements from those bands and combined them with their other influences. Patrick never needed to be auto-tuned. He can sing. Pete never had to contrive this emotional depth. He always had it.

STUMP: The ideas for band names were obnoxious. At some point, Pete and I were arguing over it, and I think our first drummer, Ben Rose, who was in the hardcore band Strength In Numbers, suggested Fall Out Boy. Pete and I were like, 'Well, we don't hate that one. We'll keep it on the list.' But we never voted on a name.

"Fake It Like You Matter" - The Early Shows, 2001

The name Fall Out Boy made their shortlist, but their friends ultimately chose it for them. The line-up at the band's first show was Patrick Stump (sans guitar), Pete Wentz, Joe Trohman, drummer Ben Rose, and guitarist John Flamandan in his only FOB appearance.

STUMP: We didn't have a name at our two or three shows. We were basically booked as 'Pete's new band' as he was the most known of any of us. Pete and I were the artsy two.

TROHMAN: The rest of us had no idea what we were doing onstage.

STUMP: We took ourselves very seriously and completely different ideas on what was 'cool.' Pete at the time was somewhere between maybe Chuck Palahniuk and Charles Bukowski, and kind of New Romantic and Manchester stuff, so he had that in mind. The band names he suggested were long and verbose, somewhat tongue-in-cheek. I was pretty much only into Tom Waits, so I wanted everything to be a reference to Tom Waits. The first show was at DePaul [University] in some cafeteria. The room looked a lot nicer than punk rock shows are supposed to look, like a room where you couldn't jump off the walls. We played with a band called Stillwell. I want to say one of the other bands played Black Sabbath's Black Sabbath in its entirety. We were out of place. We were tossing a few different names around. The singer for Stillwell was in earshot of the conversation so I was like 'Hey, settle this for us,' and told him whatever name it was, which I can't remember. 'What do you think of this name?' He goes, 'It sucks.' And the way he said it, there was this element to it, like, 'You guys probably suck, too, so whatever.' That was our first show. We played first and only had three songs. That was John's only show with us, and I never saw him again. I was just singing without a guitar, and I had never just sung before; that was horrifying. We blazed through those songs.

ROSE: Patrick had this shoulder-length hair. Watching these guys who were known for heavier stuff play pop-punk was strange. Pete was hopping around with the X's on his hands. Spitalfield was similar; we were kids playing another style of music who heard Texas Is The Reason and Get Up Kids and said, 'We have to start a band like this.'

MOSTOFI: The first show was a lot of fun. The musical side wasn't there, but Pete and Patrick's humor and charisma were front and center.

TROHMAN: I remember having a conversation with Mani about stage presence. He was telling me how important it was. Coalesce and The Dillinger Escape Plan would throw mic stands and cabinets. We loved that visual excitement and appeal. Years later, Patrick sang a Fall Out Boy song with Taylor Swift at Giants Stadium. It was such a great show to watch that I was reminded of how wise Mani was to give me that advice back then. Mani was like a mentor for me, honestly. He would always guide me through stuff.

MOSTOFI: Those guys grew up in Chicago, either playing in or seeing Extinction, Racetraitor, Los Crudos, and other bands that liked to talk and talk between songs. Fall Out Boy did that, and it was amazing. Patrick was awkward in a knowing and hilarious way. He'd say something odd, and then Pete would zing him. Or Pete would try to say something too cool, and Patrick would remind him they were nerds. These are very personal memories for me. Millions of people have seen the well-oiled machine, but so few of us saw those guys when they were so carefree.

TROHMAN: We had this goofy, bad first show, but all I can tell you was that I was determined to make this band work, no matter what.

STUMP: I kind of assumed that was the end of that. 'Whatever, on with our lives.' But Joe was very determined. He was going to pick us up for practice and we were going to keep playing shows. He was going to make the band happen whether the rest of us wanted to or not. That's how we got past show number one. John left the band because we only had three songs and he wasn't very interested. In the interim, I filled in on guitar. I didn't consider myself a guitar player. Our second show was a college show in Southern Illinois or something.

MCILRITH: That show was with my other band, The Killing Tree.

STUMP: We showed up late and played before The Killing Tree. There was no one there besides the bands and our friends. I think we had voted on some names. Pete said 'Hey, we're whatever!'; probably something very long. And someone yells out, 'Fuck that, no, you're Fall Out Boy!' Then when The Killing Tree was playing, Tim said, 'I want to thank Fall Out Boy.' Everyone looked up to Tim, so when he forced the name on us, it was fine. I was a diehard Simpsons fan, without question. I go pretty deep on The Simpsons. Joe and I would just rattle off Simpsons quotes. I used to do a lot of Simpsons impressions. Ben was very into Simpsons; he had a whole closet full of Simpsons action figures.

"If Only You Knew I Was Terrified" - The Early Recordings, 2002-2003

Wentz's relationships in the hardcore scene led to Fall Out Boy's first official releases. A convoluted and rarely properly explained chain of events resulted in the Fall Out Boy/Project Rocket split EP and Fall Out Boy's Evening Out with Your Girlfriend. Both were issued by California's Uprising Records, whose discography included Racetraitor's first album and the debut EP by Burn It Down. The band traveled to Wisconsin to record their first proper demo with engineer Jared Logan, drummer for Uprising's 7 Angels 7 Plagues.

TROHMAN: This isn't to be confused with the demo we did in Ben's basement, which was like a tape demo. This was our first real demo.

STUMP: Between booking the demo and recording it, we lost Ben Rose. He was the greatest guy, but it wasn't working out musically. Pete and Joe decided I should play drums on the demo. But Jared is a sick drummer, so he just did it.

TROHMAN: We had gotten this great singer but went through a series of drummers that didn't work out. I had to be the one who kicked Ben out. Not long after, our friend Brett Bunting played with us. I don't think he really wanted to do it, which was a bummer.

STUMP: I showed up to record that demo, feeling pulled into it. I liked hanging out with the guys, but I was a rock snob who didn't really want to be making that type of music. The first few songs were really rough. We were sloppy. We barely practiced. Pete was in Arma Angelus. Joe was the guy determined to make it happen. We couldn't keep a drummer or guitar player, and I could barely play guitar. I didn't really want to be in Fall Out Boy. We had these crappy songs that kind of happened; it didn't feel like anything. Joe did the guitars. I go in to do the vocals, I put on the headphones, and it starts playing and was kind of not bad! It was pretty good, actually. I was shocked. That was the first time I was like, 'Maybe I am supposed to be in this band.' I enjoyed hearing it back.

SEAN MUTTAQI: Wentz and I were pretty tight. He sent me some demos, and while I didn't know it would get as big as it did, I knew it was special. Wentz had a clear vision. Of all the guys from that scene, he was the most singularly focused on taking things to the next level. He was ahead of the game with promotion and the early days of social media.

STUMP: Arma Angelus had been on Eulogy. We talked to them a bit and spoke to Uprising because they had put out Racetraitor. At some point, the demo got to Sean, and he decided to make it half of a split with Andy's band, Project Rocket. We were pretty happy with that.

HURLEY: It was kind of competitive for me at the time. Project Rocket and Fall Out Boy were both doing pop-punk/pop-rock, I met Patrick through the band. I didn't really know him before Fall Out Boy.

TROHMAN: We got this drummer, Mike Pareskuwicz, who had been in a hardcore band from Central Illinois called Subsist.

STUMP: Uprising wanted us to make an album. We thought that was cool, but we only had those three songs that were on the split. We were still figuring ourselves out. One of the times we were recording with Jared in the studio, for the split or the album, this guy T.J. Kunasch was there. He was like, 'Hey, do you guys need a guitarist?' And he joined.

MUTTAQI: I borrowed some money to get them back in the studio. The songwriting was cool on that record, but it was all rushed. The urgency to get something out led to the recording being subpar. Their new drummer looked the part but couldn't really play. They had already tracked the drums before they realized it didn't sound so hot.

STUMP: The recording experience was not fun. We had two days to do an entire album. Mike was an awesome dude, but he lived crazy far away, in Kanakee, Illinois, so the drive to Milwaukee wasn't easy for him. He had to work or something the next day. So, he did everything in one take and left. He played alone, without a click, so it was a ness to figure out. We had to guess where the guitar was supposed to go. None of us liked the songs because we had slapped them together. We thought it all sucked. But I thought, 'Well, at least it'll be cool to have something out.' Then a lot of time went by. Smaller labels were at the mercy of money, and it was crazy expensive to put out a record back then.

MUTTAQI: Our record was being rushed out to help generate some interest, but that interest was building before we could even get the record out. We were beholden to finances while changing distribution partners and dealing with other delays. The buck stops with me, yes, but I didn't have that much control over the scheduling.

WENTZ: It's not what I would consider the first Fall Out Boy record. Hurley isn't on it and he's an integral part of the Fall Out Boy sound. But it is part of the history, the legacy. NASA didn't go right to the moon. They did test flights in the desert. Those are our test flights in the desert. It's not something I'm ashamed of or have weird feelings about.

STUMP: It's kind of embarrassing to me. Evening Out... isn't representative of the band we became. I liked Sean a lot, so it's nothing against him. If anybody wants to check out the band in that era, I think the split EP is a lot cooler. Plus, Andy is on that one.

TROHMAN: T.J. was the guy who showed up to the show without a guitar. He was the guy that could never get it right, but he was in the band for a while because we wanted a second guitar player. He's a nice dude but wasn't great to be in a band with back then. One day he drove unprompted from Racine to Chicago to pick up some gear. I don't know how he got into my parents' house, but the next thing I knew, he was in my bedroom. I didn't like being woken up and kicked him out of the band from bed.

STUMP: Our friend Brian Bennance asked us to do a split 7" with 504 Plan, which was a big band to us. Brian offered to pay for us to record with Sean O'Keefe, which was also a big deal. Mike couldn't get the time off work to record with us. We asked Andy to play on the songs. He agreed to do it, but only if he could make it in time after recording an entire EP with his band, The Kill Pill, in Chicago, on the same day.

MOSTOFI: Andy and I started The Kill Pill shortly after Racetraitor split up, not long after Fall Out Boy had formed. We played a bunch of local shows together. The minute Andy finished tracking drums for our EP in Chicago, he raced to the other studio in Madison.

STUMP: I'm getting ready to record the drums myself, getting levels and checking the drums, pretty much ready to go. And then in walks Andy Hurley. I was a little bummed because I really wanted to play drums that day. But then Andy goes through it all in like two takes and fucking nailed the entire thing. He just knocked it out of the park. All of us were like, 'That's crazy!'

WENTZ: When Andy came in, It just felt different. It was one of those 'a-ha' moments.

STUMP: Sean leaned over to us and said, 'You need to get this guy in the band.'

SEAN O'KEEFE: We had a blast. We pumped It out. We did it fast and to analog tape. People believe it was very Pro Tools oriented, but it really was done to 24-track tape. Patrick sang his ass off.

STUMP: The songs we had were 'Dead On Arrival,' 'Saturday,' and 'Homesick at Space Camp. There are quite a few songs that ended up on Take This To You Grave where I wrote most of the lyrics but Pete titled them.

WENTZ: 'Space Camp' was a reference to the 1986 movie, SpaceCamp, and the idea of space camp. Space camp wasn't something anyone in my area went to. Maybe they did, but it was never an option for me. It seems like the little kid version of meeting Jay-Z. The idea was also: what if you, like Joaquin Phoenix in the movie, took off to outer space and wanted to get home? 'I made it to space and now I'm just homesick and want to hang out with my friends.' In the greater sense, it's about having it all, but it's still not enough. There's a pop culture reference in 'Saturday' that a lot of people miss. 'Pete and I attack the lost Astoria' was a reference to The Goonies, which was filmed in Astoria, Oregon.

HURLEY: I remember hearing those recordings, especially 'Dead on Arrival,' and Patrick's voice and how well written those songs were, especially relative to anything else I had done - I had a feeling that this could do something.

WENTZ: It seemed like it would stall out if we didn't get a solid drummer in the band soon. That was the link that we couldn't nail down. Patrick was always a big musical presence. He thinks and writes rhythmi-cally, and we couldn't get a drummer to do what he wanted or speak his language. Hurley was the first one that could. It's like hearing two drummers talk together when they really get it. It sounds like a foreign language because it's not something I'm keyed into. Patrick needed someone on a similar musical plane. I wasn't there. Joe was younger and was probably headed there.

HURLEY: When Patrick was doing harmonies, it was like Queen. He's such a brilliant dude. I was always in bands that did a record and then broke up. I felt like this was a band that could tour a lot like the hardcore bands we loved, even if we had to have day jobs, too.

"(Four) Tired Boys And A Broken Down Van" - The Early Tours, 2002-2003

STUMP: We booked a tour with Spitalfield, another Chicago band, who had records out, so they were a big deal to us. We replaced T.J. with a guy named Brandon Hamm. He was never officially in the band. He quit when we were practicing 'Saturday.' He goes, 'I don't like that. I don't want to do this anymore.' Pete talked with guitarist Chris Envy from Showoff, who had just broken up. Chris said, 'Yeah, I'll play in your band.' He came to two practices, then quit like two days before the tour. It was only a two-week tour, but Mike couldn't get the time off work from Best Buy, or maybe it was Blockbuster. We had to lose Mike, which was the hardest member change for me. It was unpleasant.

TROHMAN: We had been trying to get Andy to join the band for a while. Even back at that first Borders conversation, we talked about him, but he was too busy at the time.

STUMP: I borrowed one of Joe's guitars and jumped in the fire. We were in this legendarily shitty used van Pete had gotten. It belonged to some flower shop, so it had this ominously worn-out flower decal outside and no windows [except in the front]. Crappy brakes, no A/C, missing the rearview mirror, no seats in the back, only the driver's seat. About 10 minutes into the tour, we hit something. A tire exploded and slingshot into the passenger side mirror, sending glass flying into the van. We pulled over into some weird animal petting zoo. I remember thinking, 'This is a bad omen for this tour.' Spitalfield was awesome, and we became tight with them. Drew Brown, who was later in Weekend Nachos, was out with them, too. But most of the shows were canceled.

WENTZ: We'd end up in a town, and our show was canceled, or we'd have three days off. 'Let's just get on whatever show we can. Whatever, you can pay us in pizza.'

STUMP: We played in a pizza place. We basically blocked the line of people trying to order pizza, maybe a foot away from the shitty tables. Nobody is trying to watch a band. They're just there to eat pizza. And that was perhaps the biggest show we played on that tour. One of the best moments on the Spitalfied tour was in Lincoln, Nebraska. The local opener wasn't even there - they were at the bar across the street and showed up later with two people. Fall Out Boy played for Spitalfield, and Spitalfield played for Fall Out Boy. Even the sound guy had left. It was basically an empty room. It was miserable.

HURLEY: Even though we played a ton of shows in front of just the other bands, it was awesome. I've known Pete forever and always loved being in bands with him. After that tour, it was pretty much agreed that I would be in the band. I wanted to be in the band.

WENTZ: We would play literally any show in those days for free. We played Chain Reaction in Orange County with a bunch of metalcore bands. I want to say Underoath was one of them. I remember a lot of black shirts and crossed arms at those kinds of shows. STUMP: One thing that gets lost in the annals of history is Fall Out Boy, the discarded hardcore band. We played so many hardcore shows! The audiences were cool, but they were just like, 'This is OK, but we'd really rather be moshing right now.' Which was better than many of the receptions we got from pop-punk kids.

MOSTOFI: Pete made sure there was little division between the band and the audience. In hardcore, kids are encouraged to grab the mic. Pete was very conscious about making the crowd feel like friends. I saw them in Austin, Texas, in front of maybe ten kids. But it was very clear all ten of those kids felt like Pete's best friends. And they were, in a way.

MCILRITH: People started to get into social networking. That kind of thing was all new to us, and they were way ahead. They networked with their fans before any of us.

MOSTOFI: Pete shared a lot about his life online and was intimate as hell. It was a new type of scene. Pete extended the band's community as far as fiber optics let him.

ROSE: Pete was extremely driven. Looking back, I wish I had that killer instinct. During that tour; we played a show in Colorado. On the day of the show, we went to Kinko's to make flyers to hand out to college kids. Pete put ‘members of Saves The Day and Screeching Weasel’ on the flyer. He was just like, 'This will get people in.'

WENTZ: We booked a lot of our early shows through hardcore connections, and to some extent, that carries through to what Fall Out Boy shows are like today. If you come to see us play live, we're basically Slayer compared to everyone else when we play these pop radio shows. Some of that carries back to what you must do to avoid being heckled at hardcore shows. You may not like our music, but you will leave here respecting us. Not everyone is going to love you. Not everyone is going to give a shit. But you need to earn a crowd's respect. That was an important way for us to learn that.

MOSTOFI: All those dudes, except Andy, lived in this great apartment with our friend Brett Bunting, who was almost their drummer at one point. The proximity helped them gel.

STUMP: There were a lot of renegade last-minute shows where we'd just call and get added. We somehow ended up on a show with Head Automatica that way.

MCILRITH: At some point early on, they opened for Rise Against in a church basement in Downers Grove. We were doing well then; headlining that place was a big deal. Then Pete's band was coming up right behind us, and you could tell there was a lot of chatter about Fall Out Boy. I remember getting to the show, and there were many people there, many of whom I had never seen in the scene before. A lot of unfamiliar faces. A lot of people that wouldn't have normally found their way to the seedy Fireside Bowl in Chicago. These were young kids, and I was 21 then, so when I say young, I mean really young. Clearly, Fall Out Boy had tapped into something the rest of us had not. People were super excited to see them play and freaked out; there was a lot of enthusiasm at that show. After they finished, their fans bailed. They were dedicated. They wanted to see Fall Out Boy. They didn't necessarily want to see Rise Against play. That was my first clue that, 'Whoa, what Pete told me that day at Arma Angelus rehearsal is coming true. He was right.' Whatever he was doing was working.

"My Insides Are Copper, And I'd Like To Make Them Gold" - The Record Labels Come Calling, 2002

STUMP: The split EP was going to be a three-way split with 504 Plan, August Premier, and us at one point. But then the record just never happened. Brian backed out of putting it out. We asked him if we could do something else with the three songs and he didn't really seem to care. So, we started shopping the three songs as a demo. Pete ended up framing the rejection letters we got from a lot of pop-punk labels. But some were interested.

HURLEY: We wanted to be on Drive-Thru Records so bad. That was the label.

RICHARD REINES: After we started talking to them, I found the demo they had sent us in the office. I played it for my sister. We decided everything together. She liked them but wasn't as crazy about them as I was. We arranged with Pete to see them practice. We had started a new label called Rushmore. Fall Out Boy wasn't the best live band. We weren't thrilled [by the showcase]. But the songs were great. We both had to love a band to sign them, so my sister said, 'If you love them so much, let's sign them to Rushmore, not Drive Thru.'

HURLEY: We did a showcase for Richard and Stephanie Reines. They were just kind of like, 'Yeah, we have this side label thing. We'd be interested in having you on that.' I remember them saying they passed on Saves The Day and wished they would have put out Through Being Cool. But then they [basically] passed on us by offering to put us on Rushmore. We realized we could settle for that, but we knew it wasn't the right thing.

RORY FELTON: Kevin Knight had a website, TheScout, which always featured great new bands. I believe he shared the demo with us. I flew out to Chicago. Joe and Patrick picked me up at the airport. I saw them play at a VFW hall, Patrick drank an entire bottle of hot sauce on a dare at dinner, and then we all went to see the movie The Ring. I slept on the couch in their apartment, the one featured on the cover of Take This To Your Grave. Chad [Pearson], my partner, also flew out to meet with the band.

STUMP: It was a weird time to be a band because it was feast or famine. At first, no one wanted us. Then as soon as one label said, 'Maybe we'll give 'em a shot,' suddenly there's a frenzy of phone calls from record labels. We were getting our shirts printed by Victory Records. One day, we went to pick up shirts, and someone came downstairs and said, 'Um, guys? [Owner] Tony [Brummel] wants to see you.' We were like, 'Did we forget to pay an invoice?' He made us an offer on the spot. We said, 'That's awesome, but we need to think about it.' It was one of those 'now or never' kinds of things. I think we had even left the van running. It was that kind of sudden; we were overwhelmed by it.

HURLEY: They told me Tony said something like, 'You can be with the Nike of the record industry or the Keds of the record industry.'

STUMP: We'd get random calls at the apartment. 'Hey, I'm a manager with so-and-so.' I talked to some boy band manager who said, 'We think you'll be a good fit.'

TROHMAN: The idea of a manager was a ‘big-time' thing. I answered a call one day, and this guy is like, 'I'm the manager for the Butthole Surfers, and I'd really like to work with you guys.' I just said, Yeah, I really like the Butthole Surfers, but I'll have to call you back.' And I do love that band. But I just knew that wasn't the right thing.

STUMP: Not all the archetypes you always read about are true. The label guys aren't all out to get you. Some are total douchebags. But then there are a lot who are sweet and genuine. It's the same thing with managers. I really liked the Militia Group. They told us it was poor form to talk to us without a manager. They recommended Bob McLynn.

FELTON: We knew the guys at Crush from working with Acceptance and The Beautiful Mistake. We thought they'd be great for Fall Out Boy, so we sent the music to their team.

STUMP: They said Crush was their favorite management company and gave us their number. Crush's biggest band at the time was American Hi-Fi. Jonathan Daniels, the guy who started the company, sent a manager to see us. The guy was like, "This band sucks!' But Jonathan liked us and thought someone should do something with us. Bob was his youngest rookie manager. He had never managed anyone, and we had never been managed.

BOB MCLYNN: Someone else from my office who isn't with us anymore had seen them, but I hadn't seen them yet. At the time, we'd tried to manage Brand New; they went elsewhere, and I was bummed. Then we got the Fall Out Boy demo, and I was like, Wow. This sounds even better. This guy can really sing, and these songs are great.' I remember going at it hard after that whole thing. Fall Out Boy was my consolation prize. I don't know if they were talking to other managers or not, but Pete and I clicked.

TROHMAN: In addition to being really creative, Pete is really business savvy. We all have a bullshit detector these days, but Pete already had one back then. We met Bob, and we felt like this dude wouldn't fuck us over.

STUMP: We were the misfit toy that nobody else wanted. Bob really believed in us when nobody else did and when nobody believed in him. What's funny is that all the other managers at Crush were gone within a year. It was just Bob and Jonathan, and now they're partners. Bob was the weird New York Hardcore guy who scared me at the time.

TROHMAN: We felt safe with him. He's a big, hulking dude.

MCLYNN: We tried to make a deal with The Militia Group, but they wouldn't back off on a few things in the agreement. I told them those were deal breakers, opening the door to everyone else. I knew this band needed a shot to do bigger and better things.

TROHMAN: He told us not to sign with the label that recommended him to us. We thought there was something very honest about that.

MCLYNN: They paid all their dues. Those guys worked harder than any band I'd ever seen, and I was all about it. I had been in bands before and had just gotten out. I was getting out of the van just as these guys got into one. They busted their asses.

STUMP: A few labels basically said the same thing: they wanted to hear more. They weren't convinced we could write another song as good as 'Dead On Arrival.' I took that as a challenge. We returned to Sean a few months after those initial three songs, this time at Gravity Studios in Chicago. We recorded ‘Grenade Jumper' and 'Grand Theft Autumn/Where is Your Boy' in a night or two. 'Where is Your Boy' was my, 'Fine, you don't think I can write a fucking song? Here's your hit song, jerks!' But I must have pushed Pete pretty hard [arguing about the songs]. One night, as he and I drove with Joe, Pete said, 'Guys, I don't think I want to do this band anymore.' We talked about it for the rest of the ride home. I didn't want to be in the band in the first place! I was like, 'No! That's not fair! Don't leave me with this band! Don't make me kind of like this band, and then leave it! That's bullshit!' Pete didn't stay at the apartment that night. I called him at his parent's house. I told him I wasn't going to do the band without him. He was like, 'Don't break up your band over it.' I said, 'It's not my band. It's a band that you, Joe, and I started.' He was like, 'OK, I'll stick around.' And he came back with a vengeance.

WENTZ: It was maybe the first time we realized we could do these songs titles that didn't have much do with the song from the outside. Grand Theft Auto was such a big pop culture franchise. If you said the phrase back then, everyone recognized it. The play on words was about someone stealing your time in the fall. It was the earliest experimentation with that so it was a little simplistic compared to the stuff we did later. At the time, we'd tell someone the song title, and they'd say, 'You mean "Auto"'?

JOHN JANICK: I saw their name on fliers and thought it was strange. But I remembered it. Then I saw them on a flyer with one of our bands from Chicago, August Premier. I called them and asked about this band whose name I had seen on a few flyers now. They told me they were good and I should check it out. I heard an early version of a song online and instantly fell in love with it. Drive-Thru, The Militia Group, and a few majors tried to sign them. I was the odd man out. But I knew I wanted them right away.

HURLEY: Fueled By Ramen was co-owned by Vinnie [Fiorello] from Less Than Jake. It wasn't necessarily a band I grew up loving, but I had so much respect for them and what they had done and were doing.

JANICK: I randomly cold-called them at the apartment and spoke to Patrick. He told me I had to talk to Pete. I spoke to Pete later that day. We ended up talking on the phone for an hour. It was crazy. I never flew out there. I just got to know them over the phone.

MCLYNN: There were majors [interested], but I didn't want the band on a major right away. I knew they wouldn't understand the band. Rob Stevenson from Island Records knew all the indie labels were trying to sign Fall Out Boy. We did this first-ever incubator sort of deal. I also didn't want to stay on an indie forever; I felt we needed to develop and have a chance to do bigger and better things, but these indies didn't necessarily have radio staff. It was sort of the perfect scenario. Island gave us money to go on Fueled By Ramen, with whom we did a one-off. No one else would offer a one-off on an indie.

STUMP: They were the smallest of the labels involved, with the least 'gloss.' I said, 'I don't know about this, Pete.' Pete was the one who thought it was the smartest move. He pointed out that we could be a big fish in a small pond. So, we rolled the dice.

HURLEY: It was a one-record deal with Fueled By Ramen. We didn't necessarily get signed to Island, but they had the 'right of first refusal' [for the album following Take This To Your Grave]. It was an awesome deal. It was kind of unheard of, maybe, but there was a bunch of money coming from Island that we didn't have to recoup for promo type of things.

JANICK: The company was so focused on making sure we broke Fall Out Boy; any other label probably wouldn't have had that dedication. Pete and I talked for at least an hour every day. Pete and I became so close, so much so that we started Decaydance. It was his thing, but we ended up signing Panic! At The Disco, Gym Class Heroes, Cobra Starship.

GUTIERREZ: Who could predict Pete would A&R all those bands? There's no Panic! At The Disco or Gym Class Heroes without Wentz. He made them into celebrities.

"Turn This Up And I'll Tune You Out" - The Making of Take This To You Grave, 2003

The versions of "Dead on Arrival," "Saturday," and "Homesick at Space Camp" from the first sessions with Andy on drums are what appear on the album. "Grand Theft Autumn/Where is Your Boy" and "Grenade Jumper" are the demo versions recorded later in Chicago. O'Keefe recorded the music for the rest of the songs at Smart Studios once again. They knocked out the remaining songs in just nine days. Sean and Patrick snuck into Gravity Studios in the middle of the night to track vocals in the dead of winter. Patrick sang those seven songs from two to five in the morning in those sessions.

STUMP: John Janick basically said, ‘I'll buy those five songs and we'll make them part of the album, and here's some money to go record seven more.'

MCLYNN: It was a true indie deal with Fueled by Ramen. I think we got between $15,000 and $18,000 all-in to make the album. The band slept on the studio floor some nights.

STUMP: From a recording standpoint, it was amazing. It was very pro, we had Sean, all this gear, the fun studio accoutrements were there. It was competitive with anything we did afterward. But meanwhile, we're still four broke idiots.

WENTZ: We fibbed to our parents about what we were doing. I was supposed to be in school. I didn't have access to money or a credit card. I don't think any of us did.

STUMP: I don't think we slept anywhere we could shower, which was horrifying. There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy.

HURLEY: Once, Patrick thought it would be a good idea to spray this citrus bathroom spray under his arms like deodorant. It just destroyed him because it's not made for that. But it was all an awesome adventure.

WENTZ: We were so green we didn't really know how studios worked. Every day there was soda for the band. We asked, 'Could you take that soda money and buy us peanut butter, jelly, and bread?' which they did. I hear that stuff in some ways when I listen to that album.

HURLEY: Sean pushed us. He was such a perfectionist, which was awesome. I felt like, ‘This is what a real professional band does.' It was our first real studio experience.

WENTZ: Seeing the Nirvana Nevermind plaque on the wall was mind-blowing. They showed us the mic that had been used on that album.

HURLEY: The mic that Kurt Cobain used, that was pretty awesome, crazy, legendary, and cool. But we didn't get to use it.

WENTZ: They said only Shirley Manson] from Garbage could use it.

O'KEEFE: Those dudes were all straight edge at the time. It came up in conversation that I had smoked weed once a few months before. That started this joke that I was this huge stoner, which obviously I wasn't. They'd call me 'Scoobie Snacks O'Keefe' and all these things. When they turned in the art for the record, they thanked me with like ten different stoner nicknames - 'Dimebag O'Keefe' and stuff like that. The record company made Pete take like seven of them out because they said it was excessively ridiculous.

WENTZ: Sean was very helpful. He worked within the budget and took us more seriously than anyone else other than Patrick. There were no cameras around. There was no documentation. There was nothing to indicate this would be some ‘legendary' session. There are 12 songs on the album because those were all the songs we had. There was no pomp or circumstance or anything to suggest it would be an 'important’ record.

STUMP: Pete and I were starting to carve out our niches. When Pete [re-committed himself to the band], it felt like he had a list of things in his head he wanted to do right. Lyrics were on that list. He wasn't playing around anymore. I wrote the majority of the lyrics up to that point - ‘Saturday,' 'Dead on Arrival,' ‘Where's Your Boy?,’ ‘Grenade Jumper,' and ‘Homesick at Space Camp.' I was an artsy-fartsy dude who didn't want to be in a pop-punk band, so I was going really easy on the lyrics. I wasn't taking them seriously. When I look back on it, I did write some alright stuff. But I wasn't trying. Pete doesn't fuck around like that, and he does not take that kindly. When we returned to the studio, he started picking apart every word, every syllable. He started giving me [notes]. I got so exasperated at one point I was like, ‘You just write the fucking lyrics, dude. Just give me your lyrics, and I'll write around them.' Kind of angrily. So, he did. We hadn't quite figured out how to do it, though. I would write a song, scrap my lyrics, and try to fit his into where mine had been. It was exhausting. It was a rough process. It made both of us unhappy.

MCLYNN: I came from the post-hardcore scene in New York and wasn't a big fan of the pop-punk stuff happening. What struck me with these guys was the phenomenal lyrics and Patrick's insane voice. Many guys in these kinds of bands can sing alright, but Patrick was like a real singer. This guy had soul. He'd take these great lyrics Pete wrote and combine it with that soul, and that's what made their unique sound. They both put their hearts on their sleeves when they wrote together.

STUMP: We had a massive fight over 'Chicago is So Two Years Ago.' I didn't even want to record that song. I was being precious with things that were mine. Part of me thought the band wouldn't work out, and I'd go to college and do some music alone. I had a skeletal version of 'Chicago...'. I was playing it to myself in the lobby of the studio. I didn't know anyone was listening. Sean was walking by and wanted to [introduce it to the others]. I kind of lost my song. I was very precious about it. Pete didn't like some of the lyrics, so we fought. We argued over each word, one at a time. 'Tell That Mick...' was also a pretty big fight. Pete ended up throwing out all my words on that one. That was the first song where he wrote the entire set of lyrics. My only change was light that smoke' instead of ‘cigarette' because I didn't have enough syllables to say 'cigarette.' Everything else was verbatim what he handed to me. I realized I must really want to be in this band at this point if I'm willing to put up with this much fuss. The sound was always more important to me - the rhythm of the words, alliteration, syncopation - was all very exciting. Pete didn't care about any of that. He was all meaning. He didn't care how good the words sounded if they weren't amazing when you read them. Man, did we fight about that. We fought for nine days straight while not sleeping and smelling like shit. It was one long argument, but I think some of the best moments resulted from that.

WENTZ: In 'Calm Before the Storm,' Patrick wrote the line, 'There's a song on the radio that says, 'Let's Get This Party Started' which is a direct reference to Pink's 2001 song 'Get the Party Started.' 'Tell That Mick He Just Made My List of Things to Do Today' is a line from the movie Rushmore. I thought we'd catch a little more flack for that, but even when we played it in Ireland, there was none of that. It's embraced, more like a shoutout.

STUMP: Pete and I met up on a lot of the same pop culture. He was more into '80s stuff than I was. One of the first things we talked about were Wes Anderson movies.

WENTZ: Another thing driving that song title was the knowledge that our fanbase wouldn't necessarily be familiar with Wes Anderson. It could be something that not only inspired us but something fans could also go check out. People don't ask us about that song so much now, but in that era, we'd answer and tell them to go watch Rushmore. You gotta see this movie. This line is a hilarious part of it.' Hopefully some people did. I encountered Jason Schwartzman at a party once. We didn't get to talk about the movie, but he was the sweetest human, and I was just geeking out. He told me he was writing a film with Wes Anderson about a train trip in India. I wanted to know about the writing process. He was like, 'Well, he's in New York City, I'm in LA. It's crazy because I'm on the phone all the time and my ear gets really hot.' That's the anecdote I got, and I loved it.

O'KEEFE: They're totally different people who approach making music from entirely different angles. It's cool to see them work. Pete would want a certain lyric. Patrick was focused on the phrasing. Pete would say the words were stupid and hand Patrick a revision, and Patrick would say I can't sing those the way I need to sing this. They would go through ten revisions for one song. I thought I would lose my mind with both of them, but then they would find it, and it would be fantastic. When they work together, it lights up. It takes on a life of its own. It's not always happy. There's a lot of push and pull, and each is trying to get their thing. With Take This To Your Grave, we never let anything go until all three of us were happy. Those guys were made to do this together.

WENTZ: A lot of the little things weren't a big deal, but those were things that [felt like] major decisions. I didn't want 'Where Is Your Boy' on Take This To Your Grave.

JANICK: I freaked out. I called Bob and said, 'We must put this song on the album! It's one of the biggest songs.' He agreed. We called Pete and talked about it; he was cool about it and heard us out.

WENTZ: I thought many things were humongous, and they just weren't. They didn't matter one way or another.

"Our Lawyer Made Us Change The (Album Cover)" - That Photo On Take This To Your Grave, 2003

STUMP: The band was rooted in nostalgia from early on. The '80s references were very much Pete's aesthetic. He had an idea for the cover. It ended up being his girlfriend at the time, face down on the bed, exhausted, in his bedroom. That was his bedroom in our apartment. His room was full of toys, '80s cereals. If we ended up with the Abbey Road cover of pop-punk, that original one was Sgt. Pepper's. But we couldn't legally clear any of the stuff in the photo. Darth Vader, Count Chocula…

WENTZ: There's a bunch of junk in there: a Morrissey poster, I think a Cher poster, Edward Scissorhands. We submitted it to Fueled by Ramen, and they were like, 'We can't clear any of this stuff.’ The original album cover did eventually come out on the vinyl version.

STUMP: The photo that ended up being the cover was simply a promo photo for that album cycle. We had to scramble. I was pushing the Blue Note jazz records feel. That's why the CD looks a bit like vinyl and why our names are listed on the front. I wanted a live photo on the cover. Pete liked the Blue Note idea but didn't like the live photo idea. I also made the fateful decision to have my name listed as 'Stump' rather than Stumph.

WENTZ: What we used was initially supposed to be the back cover. I remember someone in the band being pissed about it forever. Not everyone was into having our names on the cover. It was a strange thing to do at the time. But had the original cover been used, it wouldn't have been as iconic as what we ended up with. It wouldn't have been a conversation piece. That stupid futon in our house was busted in the middle. We're sitting close to each other because the futon was broken. The exposed brick wall was because it was the worst apartment ever. It makes me wonder: How many of these are accidental moments? At the time, there was nothing iconic about it. If we had a bigger budget, we probably would have ended up with a goofier cover that no one would have cared about.

STUMP: One of the things I liked about the cover was that it went along with something Pete had always said. I'm sure people will find this ironic, but Pete had always wanted to create a culture with the band where it was about all four guys and not just one guy. He had the foresight to even think about things like that. I didn't think anyone would give a fuck about our band! At the time, it was The Pete Wentz Band to most people. With that album cover, he was trying to reject that and [demonstrate] that all four of us mattered. A lot of people still don't get that, but whatever. I liked that element of the cover. It felt like a team. It felt like Voltron. It wasn't what I like to call 'the flying V photo' where the singer is squarely in the center, the most important, and everyone else is nearest the camera in order of 'importance.' The drummer would be in the very back. Maybe the DJ guy who scratches records was behind the drummer.

"You Need Him. I Could Be Him. Where Is Your Boy Tonight?" - The Dynamics of Punk Pop's Fab 4, 2003

Patrick seemed like something of the anti-frontman, never hogging the spotlight and often shrinking underneath his baseball hat. Wentz was more talkative, more out front on stage and in interviews, in a way that felt unprecedented for a bass player who wasn't also singing. In some ways, Fall Out Boy operated as a two-headed dictatorship. Wentz and Stump are in the car's front seat while Joe and Andy ride in the back.

STUMP: There is a lot of truth to that. Somebody must be in the front seat, no question. But the analogy doesn't really work for us; were more like a Swiss Army knife. You've got all these different attachments, but they are all part of the same thing. When you need one specific tool, the rest go back into the handle. That was how the band functioned and still does in many ways. Pete didn't want anyone to get screwed. Some things we've done might not have been the best business decision but were the right human decision. That was very much Pete's thing. I was 19 and very reactionary. If someone pissed me off, I'd be like, 'Screw them forever!' But Pete was very tactful. He was the business guy. Joe was active on the internet. He wouldn't stop believing in this band. He was the promotions guy. Andy was an honest instrumentalist: ‘I'm a drummer, and I'm going to be the best fucking drummer I can be.' He is very disciplined. None of us were that way aside from him. I was the dictator in the studio. I didn't know what producing was at the time or how it worked, but in retrospect, I've produced a lot of records because I'm an asshole in the studio. I'm a nice guy, but I'm not the nicest guy in the studio. It's a lot easier to know what you don't want. We carved out those roles early. We were very dependent on each other.

MCLYNN: I remember sitting in Japan with those guys. None of them were drinking then, but I was drinking plenty. It was happening there, their first time over, and all the shows were sold out. I remember looking at Pete and Patrick and telling Pete, ‘You're the luckiest guy in the world because you found this guy.' Patrick laughed. Then I turned to Patrick and said the same thing to him. Because really, they're yin and yang. They fit together so perfectly. The fact that Patrick found this guy with this vision, Pete had everything for the band laid out in his mind. Patrick, how he can sing, and what he did with Pete's lyrics - no one else could have done that. We tried it, even with the Black Cards project in 2010. We'd find these vocalists. Pete would write lyrics, and they'd try to form them into songs, but they just couldn't do it the way Patrick could. Pete has notebooks full of stuff that Patrick turns into songs. Not only can he sing like that, but how he turns those into songs is an art unto itself. It's really the combination of those two guys that make Fall Out Boy what it is. They're fortunate they found each other.

"I Could Walk This Fine Line Between Elation And Success. We All Know Which Way I'm Going To Strike The Stake Between My Chest" - Fall Out Boy Hits the Mainstream, 2003

Released on May 6, 2003, Take This To Your Grave massively connected with fans. (Fall Out Boy's Evening Out with Your Girlfriend arrived in stores less than two months earlier.) While Take This To Your Grave didn't crack the Billboard 200 upon its release, it eventually spent 30 weeks on the charts. From Under the Cork Tree debuted in the Top 10 just two years later, largely on Grave's momentum. 2007's Infinity on High bowed at #1.

WENTZ: I remember noticing it was getting insane when we would do in-stores. We'd still play anywhere. That was our deal. We liked being able to sell our stuff in the stores, too. It would turn into a riot. We played a Hollister at the mall in Schaumburg, Illinois. A lot of these stores were pretty corporate with a lot of rules, but Hollister would let us rip. Our merch guy was wearing board shorts, took this surfboard off the wall, and started crowd-surfing with it during the last song. I remember thinking things had gotten insane right at that moment.

HURLEY: When we toured with Less Than Jake, there were these samplers with two of their songs and two of ours. Giving those out was a surreal moment. To have real promotion for a record... It wasn't just an ad in a 'zine or something. It was awesome.

MCLYNN: They toured with The Reunion Show, Knockout, and Punch-line. One of their first big tours as an opening act was with MEST. There would be sold-out shows with 1,000 kids, and they would be singing along to Fall Out Boy much louder than to MEST. It was like, 'What's going on here?' It was the same deal with Less Than Jake. It really started catching fire months into the album being out. You just knew something was happening. As a headliner, they went from 500-capacity clubs to 1500 - 2000 capacity venues.

WENTZ: We always wanted to play The Metro in Chicago. It got awkward when they started asking us to play after this band or that band. There were bands we grew up with that were now smaller than us. Headlining The Metro was just wild. My parents came.

MCLYNN: There was a week on Warped Tour, and there was some beel because these guys were up-and-comers, and some of the bands that were a little more established weren't too happy. They were getting a little shit on Warped Tour that week, sort of their initiation. They were on this little, shitty stage. So many kids showed up to watch them in Detroit, and the kids rushed the stage, and it collapsed. The PA failed after like three songs. They finished with an acapella, 'Where is Your Boy,’ and the whole crowd sang along.

WENTZ: That's when every show started ending in a riot because it couldn't be contained. We ended up getting banned from a lot of venues because the entire crowd would end up onstage. It was pure energy. We'd be billed on tour as the opening band, and the promoter would tell us we had to close the show or else everyone would leave after we played. We were a good band to have that happen to because there wasn't any ego. We were just like, "Oh, that's weird.' It was just bizarre. When my parents saw it was this wid thing, they said, 'OK, yeah, maybe take a year off from college.' That year is still going on.

MCLYNN: That Warped Tour was when the band's first big magazine cover, by far, hit the stands. I give a lot of credit to Norman Wonderly and Mike Shea at Alternative Press. They saw what was happening with Fall Out Boy and were like, 'We know it's early with you guys, but we want to give you a cover.' It was the biggest thing to happen to any of us. It really helped kick it to another level. It helped stoke the fires that were burning. This is back when bands like Green Day, Blink-182, and No Doubt still sold millions of records left and right. It was a leap of faith for AP to step out on Fall Out Boy the way they did.

STUMP: That was our first big cover. It was crazy. My parents flipped out. That wasn't a small zine. It was a magazine my mom could find in a bookstore and tell her friends. It was a shocking time. It's still like that. Once the surrealism starts, it never ends. I was onstage with Taylor Swift ten years later. That statement just sounds insane. It's fucking crazy. But when I was onstage, I just fell into it. I wasn't thinking about how crazy it was until afterward. It was the same thing with the AP cover. We were so busy that it was just another one of those things we were doing that day. When we left, I was like, 'Holy fuck! We're on the cover of a magazine! One that I read! I have a subscription to that!'

HURLEY: Getting an 'In The Studio' blurb was a big deal. I remember seeing bands 'in the studio' and thinking, Man, I would love to be in that and have people care that we're in the studio.' There were more minor things, but that was our first big cover.

STUMP: One thing I remember about the photo shoot is I was asked to take off my hat. I was forced to take it off and had been wearing that hat for a while. I never wanted to be the lead singer. I always hoped to be a second guitarist with a backup singer role. I lobbied to find someone else to be the proper singer. But here I was, being the lead singer, and I fucking hated it. When I was a drummer, I was always behind something. Somehow the hat thing started. Pete gave me a hat instead of throwing it away - I think it's the one I'm wearing on the cover of Take This To Your Grave. It became like my Linus blanket. I had my hat, and I could permanently hide. You couldn't see my eyes or much of me, and I was very comfortable that way. The AP cover shoot was the first time someone asked me to remove it. My mom has a poster of that cover in her house, and every time I see it, I see the fear on my face - just trying to maintain composure while filled with terror and insecurity. ‘Why is there a camera on me?'

JANICK: We pounded the pavement every week for two years. We believed early on that something great was going to happen. As we moved to 100,000 and 200,000 albums, there were points where everything was tipping. When they were on the cover of Alternative Press. When they did Warped for five days, and the stage collapsed. We went into Christmas with the band selling 2000 to 3000 a week and in the listening stations at Hot Topic. Fueled By Ramen had never had anything like that before.

MOSTOFI: Pete and I used to joke that if he weren't straight edge, he would have likely been sent to prison or worse at some point before Fall Out Boy. Pete has a predisposition to addictive behavior and chemical dependency. This is something we talked about a lot back in the day. Straight Edge helped him avoid some of the traps of adolescence.

WENTZ: I was straight edge at the time. I don't think our band would have been so successful without that. The bands we were touring with were partying like crazy. Straight Edge helped solidify the relationship between the four of us. We were playing for the love of music, not for partying or girls or stuff like that. We liked being little maniacs running around. Hurley and I were kind of the younger brothers of the hardcore kids we were in bands with. This was an attempt to get out of that shadow a little bit. Nobody is going to compare this band to Racetraitor. You know when you don't want to do exactly what your dad or older brother does? There was a little bit of that.

"Take This To Your Grave, And I'll Take It To Mine" - The Legacy of Take This To Your Grave, 2003-2023

Take This To Your Grave represents a time before the paparazzi followed Wentz to Starbucks, before marriages and children, Disney soundtracks, and all the highs and lows of an illustrious career. The album altered the course for everyone involved with its creation. Crush Music added Miley Cyrus, Green Day, and Weezer to their roster. Fueled By Ramen signed Twenty One Pilots, Paramore, A Day To Remember, and All Time Low.

STUMP: I'm so proud of Take This To Your Grave. I had no idea how much people were going to react to it. I didn't know Fall Out Boy was that good of a band. We were this shitty post-hardcore band that decided to do a bunch of pop-punk before I went to college, and Pete went back to opening for Hatebreed. That was the plan. Somehow this record happened. To explain to people now how beautiful and accidental that record was is difficult. It seems like it had to have been planned, but no, we were that shitty band that opened for 25 Ta Life.

HURLEY: We wanted to make a record as perfect as Saves The Day's Through Being Cool. A front-to-back perfect collection of songs. That was our obsession with Take This To Your Grave. We were just trying to make a record that could be compared in any way to that record. There's just something special about when the four of us came together.

WENTZ: It blows my mind when I hear people talking about Take This To Your Grave or see people including it on lists because it was just this tiny personal thing. It was very barebones. That was all we had, and we gave everything we had to it. Maybe that's how these big iconic bands feel about those records, too. Perhaps that's how James Hetfield feels when we talk about Kill 'Em All. That album was probably the last moment many people had of having us as their band that their little brother didn't know about. I have those feelings about certain bands, too. 'This band was mine. That was the last time I could talk about them at school without anyone knowing who the fuck I was talking about.' That was the case with Take This To Your Grave.

TROHMAN: Before Save Rock N' Roll, there was a rumor that we would come back with one new song and then do a Take This To Your Grave tenth-anniversary tour. But we weren't going to do what people thought we would do. We weren't going to [wear out] our old material by just returning from the hiatus with a Take This To Your Grave tour.

WENTZ: We've been asked why we haven't done a Take This To Your Grave tour. In some ways, it's more respectful not to do that. It would feel like we were taking advantage of where that record sits, what it means to people and us.

HURLEY: When Metallica released Death Magnetic, I loved the record, but I feel like Load and Reload were better in a way, because you knew that's what they wanted to do.

TROHMAN: Some people want us to make Grave again, but I'm not 17. It would be hard to do something like that without it being contrived. Were proud of those songs. We know that’s where we came from. We know the album is an important part of our history.

STUMP: There's always going to be a Take This To Your Grave purist fan who wants that forever: But no matter what we do, we cannot give you 2003. It'll never happen again. I know the feeling, because I've lived it with my favorite bands, too. But there's a whole other chunk of our fans who have grown with us and followed this journey we're on. We were this happy accident that somehow came together. It’s tempting to plagarize yourself. But it’s way more satisfying and exciting to surprise yourself.

MCILRITH: Fall Out Boy is an important band for so many reasons. I know people don't expect the singer of Rise Against to say that, but they really are. If nothing else, they created so much dialog and conversation within not just a scene but an international scene. They were smart. They got accused of being this kiddie pop punk band, but they did smart things with their success. I say that, especially as a guy who grew up playing in the same Chicago hardcore bands that would go on and confront be-ing a part of mainstream music. Mainstream music and the mainstream world are machines that can chew your band up if you don't have your head on straight when you get into it. It's a fast-moving river, and you need to know what direction you're going in before you get into it. If you don't and you hesitate, it'll take you for a ride. Knowing those guys, they went into it with a really good idea. That's something that the hardcore instilled in all of us. Knowing where you stand on those things, we cut our teeth on the hardcore scene, and it made us ready for anything that the world could throw at us, including the giant music industry.

#long post #lke. VERY long post #fall out boy #fob #take this to your grave #tttyg #patrick stump #pete wentz #joe trohman #andy hurley #if theres any typos lmk and i'll fix em this. hust took fucking forever to transcribe.

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boba-beom · 1 year ago

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bff!beomgyu NSFW

okay but beomgyu as your best friend since birth, who’s literally experienced everything you have because you went thru it together.

the whole kindergarten, elementary, high school and a shit prom where both your dates bailed on you so you thought you guys were so dumb for not just going with each other in the first place. after all, that’s what best friends do.

and then when it came to college, you moved away and he went to your city’s college. you only came back for the holidays and every time you came home, beomgyu would have inches added to his height, his features fitting his face, his jaw defining, shoulders broader every time you hugged him.

and then you come back after not visiting for so long, excited to see everyone. especially beomgyu. you eye the expanse of his large family house, and as soon as you knock on their door, an unfamiliar face opens it, followed by what you assume is beomgyu’s voice calling from inside. “babe, who’s at the door?”

and they stutter, their face contorting with confusion because they didn’t know your name. and when you tell them, they relay it to beomgyu, who’s now running to meet you, opening the door wider and his supposedly significant other was standing aside before walking back inside as he pulls you in for a deep hug, his face tucked into the side of your neck and his arms not wanting to let go of you.

a part of you didn’t want to hug him back because he never told his partner about you? not even a small slip or mention? your arms froze, not wrapping around him until he speaks.

“I’m so happy you’re home. I’ve missed you.” is what he mumbles against your skin, and because of that, his lips also move against your skin. you’re fighting back a shaky sigh, feeling the hairs on your arms stand. you missed him too.

you arrived just in time for dinner with his family, your family and another family, not so familiar with them but you assume it’s the family of beomgyu’s partner.

you’re seated beside beomgyu; he had already pulled out your chair for you before you could even choose. but you notice he didn’t do that to his partner sitting opposite him. you were all towards the end of the table so it wouldn’t be too much for him to go around, but you shrug off the thought.

after eating plenty of good food you decide to catch up with beomgyu’s brother and the rest of the guests. but you were mostly listening to their conversations instead. maybe also because beomgyu’s hand was placed high up on your thigh, fingers drawing shapes, but you realise they may be letters since you used to do that to each other’s backs when you were younger.

you blankly stare at no one in particular, your brain and your senses working hard to spell out each letter and you feel an ‘F’ followed by a ‘U’ and his ‘CK’ was joint, finishing with a question mark at the end. you were far from listening to anyone when all you could hear was your pulse drumming in your ears.

not wanting to attract attention to yourself, but you slowly turn your head towards beomgyu, noticing everyones talking to each other so you were able to freely to beomgyu thanks to their grand, rectangular dining table.

“beomgyu, we can’t do that.” you sort of whisper to him, your face blank. you wrap your hand around his wrist, stopping him from caressing your thigh.

“why not?” he whines, and you’ve heard him whine so many times in your 22 years of living, but this one made you throb somewhere only recent thoughts of beomgyu have made you throb.

“your partner is literally sitting in front of you beomgyu-”

“wait, gabe? gabe isn’t my partner, we just hang out a lot since they’re kinda new here and you didn’t come home last holiday.”

you bite the inside of your cheeks, cursing yourself for mishearing when he called their name earlier. yet beomgyu’s hand is deliciously trailing back up your thigh and you don’t stop him, he stops himself instead.

“excuse us, I’m just going to help bring yn’s things to her room.” and you hear beomgyu’s mom joking about how you know your way around and not like you’d walk into his room.

but that’s exactly what you did. what the both of you did. he placed your bags down on the side of his window, pushing his hair back before tackling you onto the bed, wrestling each other just like you used to a long time ago. you’re both panting and he lies on the bed, defeated, with you technically straddling over his growing erection.

the weight of your body over his strained dick has his head rewiring, and flipping you over so you were under him—your legs still spread and he does an experimental grind. he brings his thumb to your bottom lip, tugging it down until you capture it in your mouth, the wet muscle of your tongue flat against the pad of his thumb.

“fuck yn, didn’t know you were dirty like that.” he sighs from the friction, but what he’s seeing right in front of him was what turned him on even more.

you moan around his thumb, sucking it like it was his dick but beomgyu couldn’t take it anymore. “oh nah, I want my cock in your mouth.” is what he says as he pulls his thumb out your mouth, smearing your excess saliva over your clothed nipple.

he lies down beside you, propping himself up on his elbow and waiting for you to lay on your stomach between his thighs, helping yourself and pull his pants and boxers down. grey ck’s, part of the set you gifted him the past christmas.

it was your second time touching his bulge, the first being an accident from when you had to sleep in the same tent while camping, and you rolled over to reach for your phone which you stupidly didn’t put aside and instead felt beomgyu’s morning wood while he was asleep, sleeping on his side and facing you.

“damn beomgyu, when d’you get so big?” your hushed voice had his eyes flutter shut while he concentrated on the feeling of your hand wrapped around the girth of his dick, your thumb sweeping painfully slow over the head and spreading the clear bead around.

“shit yn, you’re killing me right now.” he says through gritted teeth before taking over and holding his shaft, slapping his tip against your bottom lip like it was your own lipstick. “suck me good, and I’ll fuck you so hard you’ll sleep good tonight.”

“god your mouth is so filthy gyu, the fuck.” both your eyes seem hazy when you look at each other, not breaking contact even when you begin sucking on his tip. using your soft lips to stimulate him and his lower abdomen is already twitching.

a series of ‘mmh’s and curses leave beomgyu’s lips, enticing you to take him in deeper until his head hits the back of your throat. you thank your college away from home experience that taught you this. having a couple of fuck buddies before, you’ve never thirsted over a dick than beomgyu’s.

“baby come here, ride me.” his hand cups your cheek, making you lean up as he leans forward to capture your sweet lips with a hint of saltiness. he leans over to reach into his bedside drawer, securing a condom packet between his index and middle finger until you lick along his neck.

“wan’ you to fuck me raw, baby.” is all you say between kisses and he drops the condom, not even caring to close the drawer. and he’s back to attack behind your ear and descending down your neck with slow and wet kisses, sucking and licking on the marked areas, eliciting loud moans when he touches your sweet spot. “make me yours.”

you couldn’t resist the empty feeling inside you, throbbing around nothing, so you align his tip at your entrance. your spit and his precum has him all slicked up and ready to be devoured by your cunny.

sinking down on him did wonders to you, your nails were digging through the thin material of his shirt over his shoulder and his were under your ass, gradually letting you engulf him until your hips were flush.

you didn’t wait a minute to adjust, thinking that if you fuck yourself on his dick then it’ll just feel better that way. his dick was reaching so deep inside you; the build up was coming quicker than you’d hoped. moaning his name had his dick jumping inside of you, kissing your cervix each time you sunk down on him. but as soon as he thrusts his his up, it’s game over for you.

“beomgyu, fuck up into me.” you whine and he assists in holding you up, desperately snapping his hips up into you and watching the way his dick disappears into your pretty pussy.

“ynnn, ugh. quit clenching like that or you’re gonna make me cum.” he throws his head back, chasing his high and fucking into you faster and deeper.

the pitch of your cries grows higher, until beomgyu's ramming his cock leaving you to silently sob, mouth agape and legs beginning to shake, your cunny clenching harder than before and beomgyu follows soon after. his cum spurting out in millisecond intervals inside you until you sit back onto the bed, beomgyu's hands still holding your thighs apart so he can see his load ooze out and drip onto his fresh sheets. he wipes the leaked out cum with his thumb and up to your hole, almost like he was playing around with it.

"beomgyu, you're such a perv– oh–" and he's shoving two fingers inside you, his attempt at keeping his load in his new cum dump <3

"I wanna fuck you in every room in this house. god, I love you yn."

"if you do, we better wrap up next time because I need to finish this degree before having a mini you running around."

#beomgyu smut #beomgyu hard hours #beomgyu x fem reader #beomgyu imagines #beomgyu scenarios #txt smut #txt hard hours #txt x fem reader #txt imagines #txt scenarios #mdni #smiles hard hours #something about best friend beomgyu who wants to fuck #I have so many more scenarios in my head

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di-writes-stuff · 4 months ago

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loml

Greg House x Reader

A/N: So, I haven’t written anything in months. Whoopsies! (I have no excuse, I just didn’t want to.)

TW: It’s House. There’s your trigger warning. (Drugs.)

“Who’s gonna stop us from waltzing back into rekindled flames, if we know the steps anyway?”

This is a mistake.

That’s the only thought that runs through your head as you sit in the sterile examination room, the chair under you hard and entirely uncomfortable. It’s fitting, nothing about this will be pleasant, you knew it going in.

And yet you still did. You walked into this damn hospital, snuck around like some criminal, praying that you wouldn’t run into him before the time was right. If it ever is, it never really has been with you two. Maybe it never will be, maybe the world is trying to tell you something you’re just too stubborn to hear. How many times can you keep going back to the same broken thing?

Apparently you haven’t hit your limit yet, considering where you are.

It’s like every nerve in your body spurs to life as the door slides open and he walks in. Him, House. His eyes are glued to the chart in his hand, not really bothering to look at you. He’d treat his patients through the door if he could.

��What’s wrong with you?” He asks in a way that’s so typically him you almost roll your eyes. Abrasive, cold, these should be red flags. They are, you just don’t care.

Maybe he had a point with all the masochist jokes.

You quickly refocus, clearing your throat and waiting. For what, you’re not sure. Obviously he’ll look up, recognize you as, well, you. His ex, but that’s not even close to covering whatever twisted role it is you serve in his life. On and off for…how long? Years, you know that. Two, at least, maybe more. There’s always something wrong, something ruining your chances. The drugs, the painfully obvious emotional unavailability. The same one you ignored the existence of when you decided to come here.

Then there’s you. The constant desire you have for more. More devotion, more love, more than he’s willing to give.

Or more than he can, you refuse to explore that option.

You’re fucked, simply. There’s no possible way that you two work. It’s too much conflict, more than a mouthful of pills or some hate sex can solve.

His eyes flick up and widen as he freezes. Speechless. In another circumstance you’d be proud of this. It’s an achievement after all, he never does know when to shut his mouth.

He wasn’t expecting you, not for a second. Maybe he should’ve. You’ve always been stubborn, a trait you both share. It made for some agonizingly long arguments, and some wildly good make up.

That’s the issue with you two. You are eachother. It’s why you’re so chaotic together. It’s also why you can’t be with anybody else.

“Hey.” You say weakly, and the word feels stupid as it comes out of your mouth. You’re long past pleasantries, which is exactly why you receive silence in return.

You knew he’d be like this.

You feel your face heating in humiliation anyway. At the very least, you won’t cry, you won’t let yourself.

The stinging sensation in your nose is persistent as ever.

He slowly crosses the room, sitting down in the chair next to you, a small creaking noise filling the otherwise empty silence. A thick swallow from you, the awkward drumming of fingers from him. This is painful, and for a second you hope his pager will go off. He’d bolt with an excuse, you know he would. And because you’re the same, you would too. And then you’d be back, in a week, maybe a month, and it’d be even worse.

You’ve always had a knack for self-destruction.

You both know how it ended last time. All over a stupid bet. Cuddy thought he couldn’t make it a week without Vicodin, he thought he could. Back when he was still adamant about denying his addiction. Halfway through it might as well have been torture. Deep into detoxing, and still, he wouldn’t stop. Wouldn’t listen as you begged him to stop being so childish, so stubborn. He wouldn’t even let you come near him, let alone help. He said it’s cause he didn’t need your pity.

In reality, he just didn’t want you to see him like that. Nobody would. Every inch of his pale, shaking frame was covered in sweat, bags under his eyes and a bloodshot gaze had him looking damn near dead.

He was sick, and he hated having to face it more than anything. The Greg House being forced to admit he was wrong. Sometimes you wondered if he’d rather die than say it out loud.

Neither of you handled it well, you never do. He was too stupid to see the obvious, see that he needed help. Needed you. And you, you were too sensitive to let it go. Let him go. Give up on any hope that this could go anywhere.

You still are, and you feel it keenly as the two of you sit in silence. His eyes are trained on you, and if you didn’t know him any better, you’d think the look in his eyes was judgement. But no, it’s a myriad. Confusion, anger, guilt, longing. All things he’d never admit. That’d be far too human.

“Say something.” Your voice comes out pleading, a tone you loathe on yourself.

He turns to you, his eyes tracing over your every feature like he can’t decide which one to settle on. How many times has he seen you like this? Desperate, vulnerable, because of him. He loses count. He wants to forget it, but you have to go through the motions. Pretend you’ve worked through your issues so you can live in a momentary state of bliss. Maybe it’ll last a few months this time. Could be less, if he really screws it up.

He’ll take what he can get.

“What do you want me to say?” The words come out harsh, cold, and for a moment he expects you to turn away. You don’t. Of course you don’t.

You sigh heavily, you expected it, the ice you’d be met with. You know him intrinsically, predicting his moves like the plot twists of a movie you’ve watched one too many times.

“Something, anything.” This is sad, pathetic, even. You always do this. Go back to each other, pulling out a past that’s probably better off left in the dark closet it belongs to. Still, how can you just forget? The idea feels foreign after all this time weaving in and out of one another’s lives.

Still, this is familiar, comfortable, in a way. The feigned indifference, the cold tone, the need to pretend neither of you care nearly as much as you do. It would be easier, less painless, to just move on. Have lives separate from each other.

But he’s starting to think he lives off pain. Physical and mental. It’s all he’s known for years. Why change a routine that’s become so commonplace? And even with the pain, he’s never been happier than he was with you. You understand him, and the part of him that hates that kneels to the part that needs it.

The break ups, the separation, it’s all just a low between highs. Ones he finds far more addicting than the pills sitting in his pocket.

He begins tapping his cane on the floor, a restless rhythm. “I miss you.” His voice is deadpan as the words come out, and you know why. He’s being honest, his tone can’t betray how hard that really is for him. He leans his head back, letting it thud against the wall behind you in a way that makes you flinch.

For a moment, you wonder if he’s just saying what you want to hear.

You quickly remember who you’re talking to.

He lets his knee fall sideways, brushing against yours. It’s tiny, imperceivable, almost. If you weren’t so clued into everything he was doing, maybe you wouldn’t have noticed it. But you did, your eyes flicking down to the point of contact. It feels dangerous.

“I missed you too.” Your voice is shaky, quiet, pathetic. To you, at least. Most might see this as normal. A healthy display of vulnerability. You, though. This is hell. It is for him too. It’s also necessary. Maybe this is your twisted way of proving yourselves to each other, giving evidence to your devotion.

“This won’t end well.” He says, pragmatic as always. Cold, sensible. Too smart for hoping, waiting on change that’ll never come.

“I know.” And I’m here anyway. Words go unspoken, you’ve had enough honesty for today.

He sighs, and the noise is too tired. For a second fear settles in that you’re the one doing this to him. That trying to be decent. Trying to be suitable for a relationship is just too much for him to handle.

“Then why are you here?” He knows the answer, he’s not stupid. Maybe he just needs to hear it, and then he’ll get the common sense to tell you to leave. To give up on this, spare both of you the inevitable pain.

You sigh, the idea of having the explain worse than just letting the truth linger unspoken. “What if it works this time?” You know it’s stupid, and you know he’ll tell you just that. For a second you remember something your therapist told you. Insanity is doing the same thing over and over and expecting a different outcome. You’d rolled your eyes, told her this wasn’t anything like that. That people can change, you can change.

You stopped going to your appointments after that.

You just look at him, watch as he closes his eyes, running a hand over his face before looking to you. “For how long?” For a second, you think there’s hope in his voice, like he’s waiting for you to lie to him, say this can last forever. It probably will, you think. On and off for the rest of your lives, never stable.

“We can find out.” The words are an invitation, a reckless one. You’ll let him back in, and it’ll end poorly, and you won’t be able to be mad. You knew how this would go from the start, how can you blame him for the inevitable?

He looks to you, and you can tell he’s given up. It was always gonna happen, you wouldn’t stay away forever. No use in wasting time waiting.

“I hate you.” The words are empty. It’s his last ditch effort to push you away. He has to do it, he has to know he didn’t just let you in. Something in him has to hold onto the false belief that he doesn’t need this, that he’s indifferent. That he’s the same cold man he’s always been.

As he mutters the words he reaches out, his hand sliding over your jaw, pulling you in closer.

You smile weakly, rolling your eyes at the absurdity of the statement. You know him, you know when he’s lying, and he’s never done a worse job at it than he just did.

You’re hardly inches apart now, your lips nearly ghosting his own. Your voice is shaky as you speak, “Love you too.” As his lips brush yours, he just melts, leaning into you with a fervor he used to call lust. There’s no use pretending that’s all this is now.

The kiss ends all too soon as he pulls away, shallow breaths leaving both of you, filling the silence. You almost wonder if you should leave when his voice sounds, quiet, tentative, all things he’s normally not.

“I’m going to screw this up.” The look in his eyes is guilt for something he hasn’t even done. He will, but you ignore the nagging voice in the back of your head that says to run before he has the chance. Yes, he’s hurt you. It’s not as if you haven’t done the same to him. You know where to aim when you’re mad, and you’ve turned him to a dartboard more times than you can count.

“I’m okay with that.” For a second, as the words fall off your tongue so easily, almost instinctually, you wonder if your mother would be disappointed in you. This isn’t how she raised you. Offering some man a hundred second chances all because what, you love him? Because when it’s good, it really is so good?

Because at the end of the day, you don’t think you could do it. Leave him, live the rest of your life without him in it. You’d wonder, you’d always wonder what would’ve happened if you just gave him one more chance. And so you will, again, and again, and again.

Sometimes you wonder what your life would look like if you’d never met him. Maybe you’d be married, happy with some man who gave you far less trouble than House ever did. You curse the way you find the thought boring. He’s awful, but he’s thrilling. You might even have kids, or at least be ready for one.

You know deep down you could have a future like that, and still, all thoughts of it dissipate when he opens his mouth.

“I’m off at eight.” Self loathing drips from each word. He’s a selfish bastard, he’ll let you forgive him, and time and time again, he’ll know he doesn’t deserve it. Still, he can’t turn you down. He can’t leave. He can’t not have you. The one good thing that’s ever come out of his life. He just can’t. Not when you’re offering.

“I’ll be here.” The words are so horribly fitting. Won’t you always? Will there ever be a time he takes it too far? Or will you always go back to him? Will you always turn away from the better life, the happier life you could have without him?

Yes. It’s always yes, because deep down, you stopped wanting a life without him the second you experienced life with him. Everything else became boring, commonplace, once you’d had him. There’s nothing like House. Not a person, or drug, or liquor strong enough to come close to how he makes you feel. Nothing can make the memory fade, and nothing can replace it either.

There’s no good outcome, it’s either life alone or life with him. And so you let his fingers interlace with your own, let the sensation numb the thought that never left your head this whole time, the one that’ll haunt you on sleepless nights you spend in his bed, staring at the ceiling with his arms wrapped around you.

This is a mistake.

A/N: thank u to the taco bell fire sauce packet i quoted.

#house md #greg house #gregory house #dr house #house x reader #greg house x reader #gregory house x reader #dr house x reader #house #fanfic #fanfiction #fanfic writer #fanfiction writer #greg house x you #house x you #gregory house x you #dr house x you

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justmymindandstuff · 13 days ago

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welcome home soldier -Robb Stark x WifeReader

summary: Your husband Robb Stark defeats the Lannister army in the Battle of the Whispering Wood. His first real battle. But the only thing he could think about was you and that he might never see you again. You gladly welcome him back into your arms.

words: 3.160

warnings: angst, talk about battles, blood and death, smut, MDNI (18+)

a/n: Robb Stark lives rentfree in my head. I will never get over him// English is not my first language //no beta// A03

Hope you like it

requests are open // main-masterlist // GoT-masterlist

Restlessly, you pace back and forth in your tent. Hot anxiety burns into your stomach and does not let you rest for a single second.

"Lady Stark. You should get some sleep," your guard sounds a bit concerned while his watchful gaze never leaves you.

"I will sleep when my lord husband is back beside me," you snap at him.

Robb hat left twenty-five men here with you. To protect you and bring you back to Winterfell, if something happened to him. Just the thought that he might die brings tears to your eyes.

Was the kiss you gave him before he rode into battle the last one you will ever share? Was it the last time you saw his blue eyes? Was it the last time you heard his warm voice? "I will be back soon, my sweet girl." Gods, please bring him back to me. You chew on your bloody nail bed as you pace back and forth. You listen outside. Waiting for war drums or the trumpeting of a horn that announces their return. The sun is slowly rising again, and the fear within you grows with each passing minute.

Is it normal for it to take so long? Should you have heard something? Is Robb still alive? You wish you had an answer to at least one of these questions. But this is Robb's first real battle. This is the real war. With real consequences. And the real death.

As you took Robb as your husband at Goodswood and he draped the cloak around your shoulders, you never thought you would someday be sitting in a war camp waiting for him to return from battle.

He will come back, won't he? The thought makes you feel sick. You stop, take a deep breath, and sink to your knees. You close your eyes and begin a new round of prayers to the old gods. If you just pray desperately enough, they must listen, right? There are no weirwood trees here, how can the gods hear you if they have no ears here? You shake off the thought and focus on your prayer.

But it doesn't take long before you hear loud shouts from outside. Immediately, you are on your feet and running.

"Lady Stark, we don't know…." your guard tries to hold you back, but you pay him no mind and storm into the cold morning. The sunlight briefly blinds you, but after you blink you see the Stark banners on the horizon, drawing closer. They are back.

But has Robb returned with them?

The army is approaching quickly and you now recognize the faces of the banner bearers, but you pay them no attention. You just want to see Robb's face. Your eyes search over the front row of men. You see Grey Wind and at his side, Robb. Your gaze meets his a wave of relief washes over you and tears of joy streaming down your cheeks. You close your eyes for a moment and send a prayer of thanks to all the gods of this world.

The noise around you swells as the soldiers stream into the camp. But you ignore them all, your gaze fixed on Robb. He recognizes you and his lips curl into a smile. You run towards Robb. He dismounts his horse, the mud splattering lightly over his boots as he lands on the ground. When you reach him, you crash into his arms. His Armor feels cold and hard, the dirt and dust clinging to him ruin your dress, b ut it doesn't matter to you. Robb's arms wrap around you in a bone-crushing embrace as he pulls you close. You snuggle into him. He smells of sweat, blood, and death, but you don't care.

"Hello my sweet girl," he whispers into your hair. When you hear his warm voice a shiver runs through your bod, and you let out a relieved sob. "hey hey hey." he slightly moves away from you to look you in the face. "Don't cry."

Your gaze sweeps over his face, it's a bit dirty, there's a scratch above his eyebrow but otherwise you can't see any injuries.

"You are alive," you say. "You've come back. Are you hurt?"

He laughs softly. "Yes, I have come back. I will always come back to you.” Robb gently wipes the tears from your cheek. “Just a few bruises.” He lets his hand rest on your cheek and leans down to you. His lips meet yours, the kiss tasting slightly salty from your tears. You are surprised by the intensity of the kiss. You wrap your arms around his neck and pull him close to you. Breathless you pull away from each other after a moment and Robb leans his forehead against yours. His eyes never leave yours.

"I was so scared for you," you whisper.

"I was scared too," he whispers so softly that you can barely understand him.

You reach for his hand and only now notice that he is slightly trembling. He closes his fingers around yours. You notice how tears gather in his eyes, but he blinks them away. He can not cry here. Not in front of his men. You scratch the sweaty curls in his neck to calm him down a bit.

"Do I get a welcome kiss too?" Theon's voice pulls you both out of your little world. You look over at him, he also seems exhausted but uninjured.

"Gladly, if you're ready to take my husband's sword through your heart afterwards," you reply to him with a slight smile. You are glad that he is unharmed. You release Robb and pull Theon into an embrace. "It's nice to see you."

"What a happy little family you Starks are." at the mocking voice of Jaime Lannister you flinch. You look at the Kingslayer, who is being led through the camp in chains. He looks miserable and defeated. Only the arrogant smile of the golden lion who not so long ago rode through the gates of Winterfell has remained.

"Lock him away." Robb uses his Lord Stark voice as he gives his command and his men drag the prisoner away.

"You have captured the kingslaye,” you say incredulously.

"Yes." Robbs hand finds yours again and he pulls you a little closer to his side.

"What do you plan to do with him?" you ask. Robb's jaw tightens slightly. He would love to chop off his head, you know that. But he can't do that. Not as long as the Lannisters have Ned, Sansa, and Arya as hostages.

"I don't know yet," Robb replies quietly.

"Let's think about it later. Now you need a bath and sleep.” you order, trying to adopt his commanding tone.

"As you command, sweet girl. But first I have to make sure the Kingslayer is well guarded. Can you do me a favor?”

“Everything.” you answer.

“Please make sure that the injured are adequately cared for."

"Of course." you say, squeezing his hand and standing on you tiptoes to give him a quick kiss on the lips. You turn to leave and your hand slips out of his. You immediately notice how you are getting a little restless again. But you straighten your shoulders. He is Lord Stark and you must be Lady Stark now.

"Grey Wind." you hear Robb behind you and the next moment the Direwolf presses his wet, warm snout into your palm. Flanked by the wolf, you get to work.

When you later return to your tent with Grey Wind at your side, the camp has gotten a little quieter. You feel the sleepless night catching up on you.

Robb has taken off his armor, his curls are still a little damp from his bath. When you enter, he looks up. His eyes look tired, but he still smiles at you. Grey Wind's large body scurries past you as the wolf lies down on his blanket next to the entrance. You walk the few steps to Robb. On the way you take a cup of wine and hand it to him. You notice how his whole body slightly trembles as the tension of the battle finally falls away from him and he finds a bit of peace. He takes a few deep breaths and drowns his cup.

"Your guard said you haven't slept." it's not a reproach, he sounds a bit worried.

"Did you really think I could find sleep while you ride into battle?"

"Don't you have any faith in my war skills, wife?" he asks with a slight smile.

"The greatest faith my dear husband" you reply. "But I have only contempt for our enemies and fear that they will take you away from me."

Robb reaches for your hips and pulls you closer to him. You place your hand on his chest, you can feel his heartbeat. Nothing ever made you happier than the steady pounding in his chest.

"No one can ever take me away from you," he says his voice trembling slightly. It sounds like a promise. But you know that he might not be able to keep that promise. From his look, you can see that he knows it too. Tears well up in your eyes.

"I was so scared," you whisper softly.

"I know. I was scared too." Robb buries his face in the crook of your neck, inhaling your scent. You snuggle into his arms. "The kingslayer. He screamed for me and slaughtered our men in the process. I thought for a moment he would reach me, and then I could only think that I would never see you again." his voice trembles slightly. You dig your fingers into the fabric of his shirt. You never want to let him go. "The fear almost paralyzed me."

Fear grips you again and you have to press yourself closer to him. "I want to go home." you whisper. You wish to return behind the safe walls of Winterfell. Back with your family.

"Me too. We will win this war and then we will go home and never travel south again.”

You nod. "That's a good plan." your voice still trembles.

You just stand there for a moment in your embrace. You let it sink in that Robb really has come back. He survived this battle. You don't want to think that it was just one of many. Now you want to enjoy that your husband has come back to you. Robb's warm breath on your neck tickles lightly.

When you suddenly feel his lips on your skin, you shudder. Robb's grip on your hip tightens slightly as his lips kiss their way up your neck. You tilt your head slightly to the side and close your eyes. He kisses from your neck to your cheek and then your lips. The passion, longing, and desire in his kiss surprise you and ignite a hot fire in your lower abdomen. The fatigue is gone. Your lips move in sync with his. You press yourself closer to him. A hot shiver runs through your entire body.

Breathless, you part your lips from each other again. Robb leans his forehead against yours. Your gaze meets his. His hand glides up over your hip. His knuckles glide over the side of your breast, over your collarbone and up your neck. Then he places his warm hand on your cheek.

"I need you." he whispers.

Instead of answering him, you lean forward and place your lips back on his. Your hands begin to unbutton his shirt. As your fingers caress his chest, he moans into the kiss. His fingers unfasten the clasp of your cloak and it slides from your shoulders. Robb breaks the kiss, places his hands back on your hips, and turns you around.

Immediately, he begins to untie the strings of your dress. He is skilled at it, you notice how the dress loosens. Robb's lips find your neck again. This time, you can't suppress a soft gasp. You lean against him. You feel his body heat on your back. Robb pulls the dress over your shoulders and you slip out of the sleeves. Immediately Robb's lips attack the newly exposed skin. He pushes his hips slightly forward, and you feel his hardness against your butt. In your lower abdomen, a pleasant throbbing spreads. All the fear, the uncertainty, and the panic flow out of you and are replaced by desire. You pull at the skirt and the dress slides down your body so that you are left standing there in your white undergarment. It is made of thick wool to keep you warm and not particularly sexy. You turn in Robb's arms, catch his lips in a brief kiss, and then tug at his shirt. Robb raises his arms and you pull the shirt over his head. He tosses it carelessly into a corner.

You examine Robb's bare chest. Apart from a few bruises and scratches he really seems to be uninjured. You send another thanks to the gods. Then you look into Robb's face. His eyes are on you.

"I told you, just a few bruises." He kisses your forehead. "You are beautiful," he says before taking a step back. Robb extends his hand to you. You reach for it and let yourself be helped out of the dress. He kisses your hand. Then he gently pulls you closer to him. Your lips find each other again as your hand rests on the back of his neck and begins to caress his curls. "I'm so lucky that such a beautiful woman is waiting for me at home," he whispers against your lips. You apply gentle pressure to his chest so that he has to take a step towards the bed.

Robb's lips curl into a smile as he pulls back a bit from you. "Eager sweet wife." But then he reaches for you and lifts you in a swift turn. He takes the few steps to the bed and sets you back on your feet. You feel the edge of the bed in the back of your knee.

Robb quickly sheds the rest of his clothes while you slip out of your underwear and boots. You let yourself fall backward onto the soft covers, and in the next moment, Robb is above you.

You open your legs for him while your arms wrap around his neck. He supports himself with one arm next to your head. Your lips meet in a passionate kiss. You feel as if your entire body is on fire. You lean into his warm body, wanting to feel every inch of his skin on yours. Robbs kisses along your neck while his cock rubs between your wet folds. You let out a soft moan. Robb's hand wanders over your body, your breasts, and then rests on your hip. He gently pushes you back into the soft furs.

"Fuck," Robb curses softly against your neck. His voice heavy with his northern accent. His tip rubs over your clit, your fingernails lightly scratch over the skin on your neck, leaving red stripes.

"Please, Robb," you moan and in the next moment he sinks completely into you with one thrust.

Your wet warmth envelops him. You both moan. You wrap your legs around his hips and push yourself forward to bring him even closer to you. Robb's body trembles and you feel his breath on your neck. Gently, you tug at his curls, making him look at you.

His eyes shine with warmth and love. His gaze sends a warm shiver down your body and makes your heart beat faster.

You lean up and your lips meet again. Robb pushes his hips back a little and starts to move. You move your hips in sync with his. Feel him deep inside you. Robb intertwines your hands on the pillow. You notice a pleasant tension building up inside you. Your other hand rests on his muscular shoulder. You feel that even now he is still not close enough. You never want to let him go again. Here he is safe. His deep thrusts make you moan again. Robb kisses your cheeks and then looks into your eyes.

"Please never leave me again," you say softly. His thrusts become slower, he hardly moves inside you anymore, and this fullness makes your toes curl.

Robb smiles sadly and then gently kisses your lips. "I will always come back home to you," he whispers. His eyes find yours, and after a brief moment, you nod slightly. you press your calves slightly into his lower back, making him thrust into you a little faster again. Robb moans. Hearing those sounds from him makes your lower abdomen flutter.

Robb picks up a faster rhythm again. His lips wander back to your neck and with his next thrust, he bites. Your scream of his name is so loud that you are sure the guards outside have heard you.

"The whole time out there I could only think about coming back to you. To feel you in my arms again.” He kisses the bitemark gently. "Wanting to kiss you. I cursed myself for not kissing you enough.” his words are followed by a passionate kiss on your lips. Your legs tremble slightly. "To be able to feel you around me again." his lips wander to your ear.

Robb lets his hand wander from your hip between your bodies and he begins to draw circles over clit. You lean into his hand, feeling yourself start to pulse around his member. He gasps, and his hot breath tickles your neck. You can't focus on anything else but Robb. He picks up a faster rhythm. You match your movements to his. Your bodies tremble together. Your orgasm washes over you, and as you clench around Robb, he follows you and comes. Your name falls from his lips like a prayer as he gently thrusts his hips a few more times. A shiver spreads across your entire body, and you let out a soft moan. Robb lets his weight sink a little further onto you, and you wrap your arms around him.

After a moment you notice how your breath and heartbeat slowly begin to calm down again. Robb sits up a bit and wants to roll off you. But you press your crossed legs together behind his back so that he falls back onto you again. He laughs warmly.

"Don't go away." you whisper and start to scratch his neck again. Robb's cock twitches slightly inside you.

"I'm not going anywhere." Robb buries his nose in the crook of your neck as he shifts his weight slightly, so you are not crushed by his weight. He distributes gentle kisses on the skin of your neck, and you sigh contentedly. You close your eyes and wish that the war, the soldiers and the whole world out there to disappear. You want to live forever with Robb in this moment.

#game of thrones #robb stark smut #robb stark x reader #got #house stark #got smut #robb stark #robb stark x you #got fic #got fanfiction #robb stark fic #robb stark x reader smut

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into-the-grey · 3 months ago

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~Once I’ve Sunk My Teeth In~

Noah Sebastian x F!Reader 18+ Fic

Warnings: mild argument, choking, choke chain, p in v, dirty talk, light bratting, a single smack on dat ass, edging a lil bit.

Fic Masterlist

This is the first time I’ve ever published my own work on tumblr, and definitely the first time I’ve ever published anything Bad Omens related or with smut in it… for some reason I’m a little scared? Anyway, enjoy.

'Just go!' She yelled, turning away from where Noah stood in the hall.

'What, we're not even going to talk about this!?' Noah yelled after her as she stormed up the hallway and into the bedroom.

'What's there to talk about?' Her harsh voice called. 'You're not listening to me!'

'I am listening! You're just yelling!'

'Then what are we arguing about, Noah!?' She cried, appearing in the doorway.

'I don't know!'

'Which is exactly my point! You're not listening! You're not hearing me!'

'You're not making sense!'

Y/N groaned, turning on her heel and slamming the door.

Noah closed his eyes and pinched the bridge of his nose. He had no idea what had upset her, but he didn't have time to find out. His ride was outside, and he had to go.

He approached the bedroom door, trying the handle. The door was unlocked, which surprised him. Poking his head into the room, he saw Y/N sitting on the chair in the corner, her head in her hands.

'Look,' he said, 'I have to go, but can we talk about this tonight?'

'Forget it,' she grumbled, not even looking up. 'Just go, leave me alone.'

Noah sighed, watching her for a second. A car horn honked outside, urging him to hurry up.

'I love you,' he said lowly. 'We'll talk tonight, alright?'

'Yeah, whatever,' she said defeatedly. 'I love you, now go.'

That was a good sign. At least she said she loved him; that meant she wasn't too mad. Noah closed the door, leaving her to cool off and heading to the venue.

***

Adrenaline coursed through his body. The beat of the drums thumped in his chest, and the crowd screamed in the pit.

The show was getting close to the end, but his mind was stuck in his argument with Y/N. He felt awful for leaving things the way he had.

Noah had already planned to pick up some kind of treat for Y/N on his way home. A coffee and some roses, given his options were limited at that time of night.

For the moment, he needed to try to focus. As he marched back and forth on the stage, he started a call-and-response game with the audience.

'I know you know the words. Come on!' He called. The crowd cheered, and some sang the words he was looking for.

'You can do better than that!' He said, crouching down on the platform. 'If you're throwing...' he started them off.

The audience finished the line, singing loudly back at him. He gestured for them to keep going, singing the beginning of the following line.

'You should know I'm...' he sang, watching the people. He grinned, continuing through the song. As he reached the last line of the chorus, the lights around the theatre glowed dimly.

The crowd took over, and the lights illuminated everyone in a warm red glow. As he grinned, he looked around at all the people before his eyes settled on one.

He could see her standing in the corner, not quite at the barrier. As soon as his eyes locked on hers, he saw the wicked grin on her face.

She was dressed in the tightest, curve-hugging leggings he'd ever seen. The wet look of the fabric added to her allure. Under her studded vest, her halter top plunged between her breasts, the moth tattoo on her sternum on full display, and a choke chain around her neck. Her dark hair hung down her back in a long, straight ponytail, and her lips were painted with deep red lipstick.

He knew precisely what Y/N was doing. She was trying to torture him. She had said he wasn't listening, and now she was making him pay attention. Noah's mouth fell open, stammering as he stared at her.

The lights went down, and the guitar wailed in his ear, demanding him to continue the set. In the crowd, Y/N winked at him.

'I'm gonna kill her,' he muttered as he turned away. He could almost hear her laughing evilly as he willed the blood back to his brain.

The rest of the show was agony as he imagined what he was going to do to her. He knew he was going to get her backstage; he wasn't going to wait until they got home. He found himself counting down the songs, constantly watching her.

He could feel her eyes on him, staring into his soul. Whatever he had done, she was still mad, but god, what a punishment.

Just before they left the stage, Noah lost sight of Y/N. He closed out the song while searching the crowd for her but to no avail. As the lights went down, the band ran off the stage, taking their few minutes before the encore.

Jolly and the Nicks grabbed water, taking their chances to drink and go to the bathroom. Noah, however, knew exactly where he needed to go.

Around the corner, the second dressing room's door was ajar, a sliver of light peeking through into the dim corridor. Noah barged into the room, seeing her perched against the vanity.

He threw the door closed behind him, crossing the room in two quick strides, and grabbed the end of the choke chain, pulling it so it tightened around her neck and dragging her face to his. His lips crashed to hers ferociously, her hands staying behind her back.

'You—' he growled between kisses, 'are the most—' kiss, 'Infuriating—' kiss, 'blood boiling—' kiss, 'cock teasing—' kiss, 'brat—' kiss, 'I have ever met. And you are going to wait right here until I'm done, and then I'm going to fuck you so hard you'll feel me for a week.'

'Don't threaten me with a good time,' Y/N purred, nipping at his lip while his hand snaked its way into her top, twisting her nipple and earning a moan from her.

'You're not walking out of this room,' he told her, grinning as she leaned into him, 'that's a promise.' Noah forced her knees apart and shoved his hips against her, grinding his cock between her legs.

'Two minutes!' A voice called outside the room, rounding up the band for the encore.

'Just enough time,' he breathed. Removing his hand from her top, he slid his fingers into her pants. Her pussy was slick, eager for him. With a grin, he bit down on her bottom lip, tugging on the chain around her neck and slipping his fingers inside of her.

Her gasp sent a chill down his spine, his body desperate for more of her.

'You thought you could be a brat at my show and wouldn't see consequences?' He growled lowly, twisting the chain around his finger as her breath stuttered.

'Maybe I wanted to see what you would do,' she told him, grinning proudly as her head fell back and her eyes closed. A dick-twitching sigh fell from her smug lips while he fingered her fast and deep.

'And did you get what you wanted?'

'Not yet,' she breathed.

'One minute!' The voice called again.

'Moan, baby,' Noah commanded, 'I want to hear it.'

Y/N happily obliged, her breathy moan lingering in the room and his cock aching at the sound. The moans came one after another, her pussy clenching around his fingers.

'Noah, fuck,' she gasped, her orgasm building quickly.

'Are you gonna come, baby?' He asked, biting her neck.

'Yes, oh god, yes,' she moaned.

'Not til I say so.'

In a fluid movement, his hand retreated from her pussy, lifting his fingers to her lips.

'Taste,' he ordered, watching her take his fingers into her mouth, running her tongue along his knuckles and leaving smears of her cherry red lipstick. 'Good.'

Noah stepped away from her, leaving her wanting more. He quickly adjusted his cock, trying to hide his obvious erection by tucking it into his waistband.

'Thirty seconds!' The voice yelled.

'Wait, come here,' Y/N panted, reaching for Noah's face. She kissed him once more before grabbing a tissue from the vanity and wiping as much of her smeared lipstick from his face as she could.

'How bad is it?' He asked with a smirk.

'Bad,' she giggled, kissing him quickly before shoving him at the door. 'Go, I love you.'

'I love you, and I mean it,' he told her, opening the door, 'do not move. That's an order.'

She nodded once as he rushed back to the stage just before the encore started. The crowd's cheering filled the venue. Noah grabbed the microphone from the stand on the stage, listening to the music around him for a second, trying to be in the moment.

‘Alright, if you don't know what to do, you will soon,' he grinned. This was one of his favourite parts of the show. 'When I say concrete, you say?'

He chuckled at thousands of people screaming 'Jungle' back at him.

'Again! When I say concrete, you say?'

'Jungle!'

Knowing Y/N was backstage listening, he smirked. He knew she got hot for his screams...

'I wanna hear you! Louder!' He screamed, the sound reverberating around the theatre and making people scream back. 'Concrete!'

The screams grew louder and more feral, and the crowd got worked up bit by bit. He began to march back and forth across the stage as the chant grew louder and faster.

Finally, he let loose a guttural scream, knowing she would be losing her mind waiting in that dressing room. He could picture her squirming in her seat, her thighs squeezing together as she fought back the urge to sneakily slip her fingers into her panties…

Focus.

'This is Dethrone, you fucks!'

***

They left the stage with the crowd applauding behind them. Jolly and the Nicks returned to the dressing room they had been in before the show, while Noah returned to the dressing room Y/N waited in.

He stepped in, closing the door behind him and locking it. She had done as he asked, staying exactly where he left her. Her lipstick was still smeared around her lips, and a red bite mark bloomed on her neck.

Wasting no time, he reached for her, his hands grabbing her hips as he stepped between her legs, grinding himself against her.

'Are you still going to be a brat?' He asked, his lips hovering just above hers.

'Maybe,' she purred, slipping her hand between them and palming him through his pants. Noah groaned, leaning against her and biting down on her lower lip.

He grabbed her chain again, using it to drag her off the vanity. She tilted her chin up, letting him pull her towards him. She followed as he turned her around.

'Bend over, hands on the table,' he told her. She grinned at him, her eyelids low as he kissed her again.

Y/N obliged, turning around and pressing her palms into the vanity table. Noah dragged the tail of her chain around her neck so it hung down her back, pushing her ponytail over her shoulder.

Hooking his thumbs into the waistband of her leggings, he slid them down, exposing her ass and pussy to him. Y/N could see him in the mirror, grinning as his palm ran over her bare skin.

‘Are you going to behave?' He asked, locking eyes with her in the mirror.

'I might...'

His palm struck her ass in a solid upward stroke. A warm sting bloomed on the skin, making her gasp and her pussy clench.

'You might?' He said lowly, dragging her thong down. He freed his erection from his pants, positioning his tip at her entrance and grabbing for the chain again.

'What do I get if I do?' She asked sweetly, keeping her eyes on his.

'You get to come.'

His cock plunged deep into her pussy, sinking in to the hilt. Y/N gasped as Noah let out a moan, feeling how tight he had left her, her anticipation squeezing him.

‘Oh god,' she breathed, her head lowering to look at the table.

'Eyes on me,' he commanded, tugging at the chain. 'You look at me, no matter what. I want to watch you.'

She nodded, swallowing as he leaned over her, his hand slipping into the front of her pants and finding her clitoris.

'Oh shit,' she breathed, 'Noah.'

'Hold it back, baby.'

Y/N bit her lip, her muscles flexing on him. Her pussy dripped with need, dribbling onto the waistband of his pants.

Finally, Noah began to thrust. He started with small, tight movements, building up to a quick pace.

'Noah, I can't,' she whimpered, 'I need to...'

'Don't you dare,' he warned, running his finger in circles around her clit, 'if you come now, I'll edge you for a week.'

'Fuck,' she breathed. Noah grinned, watching her in the mirror. Her breasts were starting to fall out of her shirt, her nipples peeking past the fabric. Her skin flushed, and her mouth hung open while she panted, and the chain bit into her neck while he held it firm.

Noah took his hand away from her clitoris, reaching for her chest and twisting her nipple again, moaning as her muscles contracted on his cock.

His orgasm was starting to build, his gut coiling tight with pleasure. Y/N shifted forward onto her toes, resting her elbows on the table, allowing him to plunge deeper into her. His tip slammed into her cervix, making her gasp.

'Too much?' He asked breathlessly.

'No, please,' she whined, 'don't stop.'

Noah released his grip on the chain, grabbing her hips instead and thrusting deeply into her.

'Fuck, baby, you're so tight right now,' he moaned.

‘Noah, please,' she begged, trying to keep her eyes on him in the mirror. Her knees trembled as waves of pleasure rocked her body.

'Please, what?' Noah goaded her, 'I thought you wanted to be a brat; beg for it.'

Y/N bit her lip hard, fighting back a loud cry. 'Fuck, Noah, please.'

'Please, what? Tell me what you want.'

‘Please, let me come, baby. It's right there. I need to come,' she begged, locking eyes with him in the mirror. Her mascara was starting to smudge, leaving black streaks around her eyes.

'Good girl,' he said, 'you really want it?'

She nodded eagerly, her lower lip clamped between her teeth.

'Come for me. Show me how bad you need it.'

Her pussy began to spasm, her back arching with the orgasm. Noah grunted, reaching back into her pants and rubbing her clitoris, intensifying her climax and grinning as she bit back a squeal.

'Oh fuck, Noah!' She cried, giving up on controlling her volume. There was no way anyone in the surrounding rooms hadn't figured out what they were up to anyway.

'Oh god, Y/N, I'm gonna come,' Noah told her, his thrusts deepening. Y/N cried out again as Noah's cock struck just the right place, sending a wave of fireworks through her body.

'Don't stop,' she gasped. 'Oh god, please don't stop.'

'Fuck,' Noah groaned, 'fuck, there, I’m gonna fill your pretty pussy up, you want that?.'

Y/N bit her lip, holding back a shriek as her body convulsed under him. She could barely stand the feeling crashing over her.

Noah’s orgasm shook him, his knees threatening to buckle as he drove his cock deep inside of her and gripping her hips tightly while waves of ecstasy wracked their bodies.

'Holy... fuck...' Y/N panted as he finally stilled.

Noah slipped his hand out of her panties, rubbing gentle circles on her back as he slid his cock out of her.

'So... what were you mad about earlier?' He asked, kissing the back of her shoulder lightly.

She laughed breathlessly, standing up and adjusting her bottoms, dressing herself. With a flushed grin, she turned to face him, her hand running up his chest.

'Honestly? I don't even remember.'

‘Good,’ Noah grinned, ‘I hate when we fight.’

‘I’m not a big fan either, but god, make up sex is fun,’ Y/N breathed, leaning into his warm embrace.

‘I love you.’

‘I love you too, baby.’

#noah sebastian #noah sebastian fic #noah sebastian x reader #noah sebastian fanfiction #noah sebastian smut #bad omens #bad omens fanfiction #bad omens fanfic #bad omens smut

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strangersatellites · 10 months ago

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the one with the shacker shirt | more frat king steve x his problem causing bf eddie

a mini collab with @amethyst-crowns !!

it’s a cool friday night and eddie’s two tequila shots, a handful of beers, and a cigarette into his setlist at this point. their dedicated few fans are up front and center scream singing along with them while the rest of the bar is bustling with life.

with drinks being spilled, food being ordered and then forgotten about, sorority girls having deep meaningful talks in the bathroom so long their boyfriends’ forgot they were there.

it’s a friday night at his favorite college bar and eddie is buzzing with energy.

he’s got his guitar slung over his back and he’s taking a beer break, eyes scanning over the room in search of his favorite boy. he’s probably somewhere charming his way into free drinks in a way that never fails to leave eddie laughing and a bit baffled. he gets it though, everybody else is just as wrapped around steve’s finger as he is so he can’t say anything.

he’s talking to the guys, kicking a couple empty cans offstage when he sees them out of the corner of his eye.

two guys, probably eddie’s age, maybe seniors. they’re flagging him over and looking around suspiciously and eddie thinks that if they’re interested in buying, this is an awful strange time to approach him about it.

he’s about to break the news, tell them he’s not selling tonight when one of them smiles and claps his shoulder when he squats down to their height.

“hey man, we don’t want you to get in trouble so we figured we’d tell you before someone else did.” he says with a nod. says it like eddie will catch on, like he’ll know what this is about.

he doesn’t.

he furrows his brows and looks at them, confused. “pardon?”

the second guy tugs at the hem of eddie’s shirt, darts his eyes around conspiratorially again. “you gotta turn this inside out of something, bro. pledges can’t wear letters out until initiation. vp rec will hand you your ass if he hears about it.”

the first guy is all but hissing in his ear in his effort to be quiet. “yeah AND the president’s here, man. we’re just looking out for you.”

eddie glances down at his own chest, realizing for the first time what shirt he grabbed off the back of steve’s desk chair this morning.

it’s not his that’s for sure. it’s definitely his boyfriend’s. big, bold greek letters across the chest. ink peeling off and threadbare around the waist. the arm holes more hole than shirt at this point.

he smiles back up at the guys, finally figuring out what this is about.

he huffs a quiet laugh and his knees crack when he stand back up. he hears gareth mindlessly drumming his sticks against his stool so he knows his break’s over. pulls his guitar back around to his chest and bows.

“well i appreciate your looking out for me, gentlemen. but… i think i’ll take my chances.”

he hears a scoff and a muffled “whatever, man” and a “not my fucking problem, i guess.”

but whatever he’s not paying any attention.

the mic squeals when he walks up to it and he’s got a thousand-watt smile and an apology on his lips immediately after.

“ah shit, sorry, sorry guys- my bad.” he backs up a step and squints against the harsh light, still searching for his boy. “before this next one, i’m looking for someone. baby? baby, where are you? can you come up here sweetheart?”

he looks toward the back of the crowd and sees steve’s bright smile and glassy eyes as he shoulders his way up front. sees how he stops to talk to a few people, say hi, dap up a couple of the guys. but he makes it up the front of the stage in record time given all that, regardless.

“there you are! missed you,” he says before he’s leaving his mic again and dropping down to his knees.

now he’s low enough that steve can tangle a hand in his unruly curls and tug him forward and down. can tug him close enough the he feels his breath against his lips when he whispers “will you play my favorite?”

he knows his own smile is bright as the sun.

“of course, baby.”

when steve kisses him, messy and like he’s putting on a show, eddie can’t help but overhear the “what?” and “oh that’s him?” coming from the side stage.

there are a lot of perks to being steve’s boyfriend. but that response is always one of his favorites.

#steddie #steddie fic #gin writes #steve harrington #eddie munson #steddie fanart #shot of gin #ames’ art #gin x ames #frat boy steve harrington #you will ALWAYS be famous #steve would be a sig ep #argue with the wall #source:#my beautiful mind

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thefatedthoughtofyou · 1 year ago

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{ @devondespresso it took me a bit cuz i got a cold but i did it!! Thank you soooo much for the prompt i LOOVVEEDD it!!! It got away from me but i'm really proud of this one!!! }

It's sort of an au mixed with canon. Set after s3 and there's no vecna, so all the upside down stuff is settled and this is where their lives are going (and a little bit of where they've been 😉)! Eddie works at an outdoor haunted house as a scarer in the cornmaze! Steve has a brief panic attack.

HAPPY HALLOWEEN Y'ALL!!!

Steve knew it was a bad idea. Going to a haunted house on a blind date. It's technically not a house, and he vaguely knows the date. Or knew the date. Before she'd ditched him. For her ex. Whom she'd apparently just been using Steve make jealous.

So now here he was. Wandering around a corn maze in the middle of fucking nowhere. In the dark. Surrounded by screams. Of laughter. And terror. And he's taken four right turns now and that can't be right. His chest is feeling a littl tight now. His fingers tingling.

He's not a fan of the dark. And the screams aren't helping. He's fine when he's with people. But the person he'd come with had left him, had had no real interest in him. Just using him. Like always. Who the fuck would have genuine interest in Steve Harrington these days.

He clenches his fist when he sees something in the shadows ahead. It jumps out at the group of girls about 20 feet in front him. They scatter and scream, laughing as they run away hand in hand. The shadow, some creepy fucking scarecrow thing, chases them for a few feet and then stops.

Steve freezes. The scarecrow turns, twitches really, in Steve's direction, arms held out like he's out guarding a field, and then stops moving again. Steve takes a hesitant step. The scarecrow's head twitches, but it stays still. Steve can feel his heart beating in his ears, loud, like a drum. His hand twitches, he wipes it on his thigh and takes another step.

The maze is empty is now, in this area at least. The silence pounding in Steve's ears louder than his heart. He takes a few shallow breaths and starts walking. The scarecrow drops its arms. Steve keeps walking, until his foot hits a root and he trips. His hands hit the ground hard, dirt digging into his palms. A strangled noise crawls out of his throat.

He hears footsteps running toward him. From the direction the scarecrow had been. His heart hammers louder, fingers dig into the dirt as he curls into himself further.

"Please don't- I'm just- I can't-" Steve pants, trying to fend the thing off.

"Whoa whoa hey. It's okay. You're okay. Are you okay?" A gentle, hesitant, hand falls on his shoulder. Steve flinches away, involuntarily, the hand disappears.

"Okay no touching. That's okay. Can you stand? Or like.... sit back maybe? You arm's are shaking pretty bad man. Just try to breathe." A voice says, steady, to his right.

Steve's eyes move in that direction and he sees something on the ground by his hand. Something almost the same color as the dirt he'd fallen in. Steve's blinks, hard, sucks in a few deep breaths. It's a mask. A straw mask. Steve lets out a shuddering breath, lets himself fall back onto his butt in the dirt.

"There we go. Okay. That's better." The same calm voice. And then,

"Harrington?" The voice says, full of disbelief. Steve looks to his right and sees a mop of dark hair and pale skin above an incredibly detailed scarecrow costume.

"Eddie?" Steve feels the tension leave his body almost at once. Eddie says nothing. Just stares at him.

"What?" Steve shakes his head a little, looks into his lap.

"Wha- nothing, sorry. I just- I uh... just a little shocked you remember my name." Eddie says, and it sounds almost like a laugh. Steve frowns, looks at him again.

"We went to school together for like... ever, man." Steve says, still frowning. Eddie shakes his head, wraps his arms around his knees where he's crouched next to Steve.

"No yeah I know. Just... we never talked really. Or anything." Eddie shrugs, he doesn't seem mad. Maybe even seems a little amused.

"Right." Is all Steve can think to say.

"Hey. You think you can stand now? There's some picnic tables right outside here. I can take you. Make sure you make it alright." Eddie pushes himself to his feet, holds his hand out to Steve, smiles when Steve looks up at him. His eyes wide, waiting. Steve swallows heavily, reaches up, takes Eddie's hand, and let's him pull him to his feet.

Eddie guides them out of the corn easily. Let's Steve sit for a minute before going to grab them some water. He comes back with two bottles of water and two corn dogs.

"Thought maybe eating might help." Eddie throws himself onto the bench across from Steve, grabs one of the corndogs and takes a huge bite. Steve snorts a laugh in suprise and grabs the other one, takes a much smaller bite. He watches Eddie eat, his cheeks poofed out like a chipmunk.

Steve waits for Eddie to take another bite, lets him chew as they sit in amiable silence, before he says,

"We have talked before." Steve says, quietly, and takes another bite.

"Hmm?" Eddie hums, his eyes wide, cheeks full, head tilted, he looks a bit like a puppy.

"We've talked. Before. I mean." Steve takes a sip of water, tucks his free hand under his thigh.

"You said we hadn't really talked. But we did talk. A few times." Steve elaborated, smiling down at his lap at the memory.

"Umm. Yeah. Yeah no I know we did. I just-" Eddie swallows, hard, he looks a bit... guilty. He shrugs, takes a drink, picks at the table top with his fingernail.

"I just didn't think you'd remember." Eddie shakes his head, his brows furrowed.

"Didn't think I would remember which one?" Steve asks, trying to coax Eddie out of this shyness. Eddie scrunches his face though, shakes his head again.

"Doesn't matter." He mutters.

"Didn't think I would remember buying weed from you after Billy beat the shit outta me? And the way you gave me a handful of free pain meds?" Steve says, Eddie glances up at him, eyes shining through his bangs.

"Didn't think I'd remember you helping me save a kid from drowning at the pool that summer?" Steve asks.

"He was fine. Just panicking. You did most of the work." Eddie mumbled, his eyes locked on Steve now. Steve nodded, hummed.

"And what about the other time? The first time we talked?" Steve bit his lip, took another sip of water, Eddie staring at him the whole time.

"The- the first time? When- I mean... back then?" Eddie takes a shaking breath, sounding winded the way Steve had been about an hour ago.

"Mhm. Back then. In the woods. At the creek. With the turtles and the crawdads." Steve says, smiles softly at Eddie, watches Eddie blush and look away.

"Kinda hoped you'd forgotten about that one I guess." Eddie whispered, his voice so low Steve barely hears him.

"I didn't. Don't think I ever could. I definitely wouldn't want too." Steve bites his lip, worries it between his teeth. Eddie blinks at him.

"W-why not? I mean you could've-" Eddie snaps his mouth shut, his eyes looking a bit watery as he looks at Steve.

"I'd never do that. I'd never tell anyone. We made a promise remember?" Steve sits his elbow on the table, holds his pinky up, and feels relief wash over him when Eddie smiles.

"Yeah. Just us and the turtles and the crawdads. Just between us." Eddie sets his own elbow on the table and hooks his pinky with Steve's.

"I think about that day a lot. Is that bad to say? Weird I mean? I don't wanna make you uncomfortable." Eddie says in a rush, Steve tightens his pinky around Eddie's, hold it fast.

"You don't make me uncomfortable. Kind of the opposite actually. It's always been that way. I feel... nice. When I'm around you. It's like you clear my head." Steve shakes his head, smiles down at his lap. A group of girls run by laughing, hand in hand, stopping by the concession cart. Eddie tries to pull away, tries to hide. Steve keeps their fingers hooked but lowers their hands to the table, out of sight in the dark.

"That's a new one. Usually I just annoy people. Kinda why this is the perfect job for me. I get to annoy people all night." Eddie teases, wiggles his wrist so that he and Steve's hands shake. Steve snorts, shakes his head.

"And yet. You still calmed me down." Steve bites his lip again. Watches Eddie do the same across from him.

"I guess. We keepin this one a secret too?" Eddie asks, his eyes on their linked pinkies. Steve unlinks them, slides his hand into Eddie's.

"I dunno. No turtles around." Steve says, tapping his fingers against Eddie's wrist.

"No crawdads either." Eddie says, his lips tilting at the corners.

"Nope. Just us." Steve confirms.

"Well maybe we should... have a meeting?" Eddie wonders, his voice going a little high.

"A meeting?" Steve asks, frowning dramatically.

"Mhm. At the creek. Get the turtles and the crawdads up to date. Keep them in the loop an all." Eddie explains, his fingers curling up around Steve's wrist, his eyes darting around Steve's face, like he's looking for something.

"We wouldn't want them out of the loop. That'd be terrible." Steve agrees, nodding and wiggling their hands like Eddie had done.

"Mhm. Yeah." Eddie hums, his teeth sinking into his lip to stop the smile threatening to spread.

"EDDIE! BACK IN THE MAZE! NOW!"

Their hands fly apart, Eddie nearly falls off the bench he'd been sat on. He stumbles to his feet and spins toward the shout.

"ALRIGHT ALRIGHT I WAS HELPING A GUEST IN NEED!" he shouts back, arms flailing dramatically. He turns back to Steve, cheeks flushed red.

"Heh. Sorry. I have to... go. Back to work. But um... we could... I mean if you want. If you were serious. I could- or you could? If you want." Eddie stammers, grabbing for his mask and holding it to his chest as he slowly backs away, step by swiveling step. Steve smiles at him, brightly.

"I'm free on Thursday." Steve says, cheeks hot.

"I love Thursdays!" Eddie yells, looks around, laughs breathily.

"I can pick you up at seven."

"Seven's great! Love seven!" Eddie calls, waving his mask over his head.

"EDDIE! NOW!"

"I'M IN THE MIDDLE OF A CONVERSATION AND AM GOING OH MY GOOOODDD!" Eddie screams into the dark toward the shouting voice. He waves to Steve, yanks his mask back on over his head, and runs toward the maze.

"See you Thursday!" Eddie yells, turning to wave at Steve before ducking back into the corn. Steve laughs, drags his hand through hair, his palm and wrist missing the touch of Eddie's skin.

He walks to his car slowly, a smile on his lips as he remembers that day in the woods, by the creek, where he met a boy catching turtles and crawdads. The day they played in the water til the sun began to set, catching critters and setting them loose again. The day two sad boys found each other, and shared their first kiss in the creek before running home, laughing into the dark.

#steddie #steddie fic #steddie ficlet #Halloween fic #my writing #mine #my fic #steve harrington x eddie munson #steve x eddie #prompt fill

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stararch4ngelqueen · 1 year ago

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Jason slow dancing with you in the kitchen, something fluffy like that please!

Fighting sleep rn so this is perfect. You’re also getting teasing Jason for free. And a ton of other unnecessary details cause I got way too into it.

—

Time written - 11:42 p.m

—

“Why’re you out of bed, babe?” A bedraggled Jason greeted your weary, squinting eyes as they got used to the kitchen lighting.

“Couldn’t sleep,” you whisper, exhaustion heavy on your tone despite your body’s refusal to succumb to it. Jason settled himself back against the counter beside the stove, continuously watching over a small pot while scrolling over mindless articles over his phone.

“C’mere.” Jason offers an arm towards you, watching your oversized shirt clad body trudge across cold tile floor to get to him. He hugs you close, your cheek hearing the drum of his steady heart as you relax against his chest, your body easing in his embrace.

“What’re you making?”

“Warming you up some milk,” Jason murmurs into your hair, rubbing soothing motions along the small of your back. The lack of sleep wasn’t new, mostly due to your persistence on waiting on him after his patrol nights ended. He felt guilty, choosing to stay extra hours to make sure you kept yourself asleep.

He didn’t mind it. He preferred you over the cold streets on a November midnight.

“Gotta treat my baby like a baby and make her a bottle.”

“Shut up,” you scoff with a smile, knowing he’d take it as an amusing compliment. He enjoyed making you laugh as much as he did taking care of you.

Your preferred milk with a dash of cinnamon and chamomile honey slowly came to a simmer on the stove, awaiting a spoonful of cocoa powder. You’ll ask if it was Alfred’s idea to having hot chocolate instead of warm milk for sleep, he’ll shrug and tell you he saw it once on a cheesy Hallmark channel.

Jason closes his eyes, a slight smile growing on his face.

“Tell me something,” he whispers, his voice still quiet, rough, and tired, the late hour shown in bright green digital numbers on the stove clock.

“Hm?”

“Just… say anything. You don’t have to put any thought behind it. I just wanna hear your voice… okay?”

You had no understanding to the reason, only coming up with him wanting to tire you out just by talking lots of nonsense. You could do that, sometimes that’s your specialty.

“Okay,” you reply, saying the first words that came to mind after taking a sigh.

“When was the last time we had Dino chicken nuggets? We’re grown adults, what’s really stopping us from eating them?”

Jason starts to chuckle a little, then his laughter grows just a little louder. He cradled you closer to body, his arms still snug around your waist. What a silly thing to say, even when that’s exactly what he had asked for.

“No, no, it’s true. Why do kids get to claim all the tasty snack food?” He chuckles, gently swaying you from side to side, not even making much of an attempt to move his feet.

“One of these days… let’s just eat like little kids for a day.” You suggest, your voice growing a bit thick with exhaustion. “Hot chocolate and dino nuggets, and we can just stay in bed. It’ll be a nice break, don’t you think? So you don’t have to be Red Hood all the time.”

He lowers his head a little, stray tufts of hair tickling your face while his lips plant gentle kisses along your neck. His heart hurts a little bit from that little desire deep in your chest to have him home more, to be a proper boyfriend and cradle you in your dreams, just as he did now.

“Yeah? I don’t mind that,” Jason says, keeping you blanketed in the safety of his embrace, slowly shifting weight along his feet to sway you with him a little more.

“You ever danced before, sweetheart?”

“Hm?” Your head tilts a bit. “No, not like this.”

“Is it making you sleepy?” He asks, catching the quirk in the corner of your lip.

“You rocking me like a baby?”

“Can see its working,” He snickers, kissing the top of your forehead. His little sleeping beauty, nestled in the arms of a crimson beast.

“Tell me more,” he whispers, raspy voice growing both soothing and quiet. “Keep talking. I wanna listen to you.”

Your head shifts, your lips muffled against his chest, amusing him with a complete lack of understanding.

“What’s that, baby?”

“You’re not home as much a lot of nights.”

Jason exhales, feeling his lungs deflating while he spares a hand to cradle the back of your neck and runs through your hair.

“I know Princess,” he responds, voice growing softer.

Then, he goes silent for a moment—as if he’s thinking of what to say next.

“D’you miss me when I’m not home?” he whispers, his voice soft and curious.

“I always do,” you admit, trailing your fingers all along his silvery scarred chest.

A light smile pulls at the side of his lips, feeling his pessimistic thoughts satiated for the time being.

He brings his hand up to your chin, caressing it softly with his thumb before tilting it upwards to get a good look at you.

“You know,” Jason responds, “I think I miss you the most when I’m not home.”

His voice is soft, as if he doesn’t want to be so vulnerable about this. This routine is something he can’t control sometimes, no matter how much he wanted to. Little nights like these where he could vanish from sight just to spend a couple extra hours with you was the greatest luxury he could ever want from the universe.

Time was the most precious possession that always slipped out of reach, he treasured every second of it with you.

“You’re always on my mind, babygirl. Try not to forget that.” As he’s saying this, he can’t help but tilt his head and kiss your forehead.

“M’tired,” you whine before opening your eyes, unaware when you had even closed them. He glances back to the stove before shutting off the burner, acknowledging he could at least save the mouthwatering concoction for breakfast in the morning.

“Too tired to wait for your bottle, huh?”

“Stooop.” You groan against the crook between his neck and shoulder, feeling the rumble of his amusement along his chest. “God, I hate you.”

“Hate me in the morning, babygirl,” he muses before slipping his arm under your knees, hoisting you up in his embrace to carry you back to bed.

#jason todd #jason todd x reader #jason todd x you #jason todd x fem!reader #dc jason todd #jason todd x y/n #Jason Todd dc #warm milk #it’s good stuff #jason todd x female!reader #dc comics #gotham knights jason todd #jason todd x

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cameronspecial · 5 months ago

Note

Hey I just finished reading Until My Dying Breath, and omg the detail was so amazing! One of the best I’ve ever read! I was thinking maybe as a request a pt 2 to that, maybe after they finished getting checked and can go home, Rafe is so nervous what readers parents are gonna say, he thinks there gonna say stuff like how he can’t see reader anymore, but he doesn’t tell reader that’s how he’s feeling. Later when rafe and reader are together readers dad comes and pulls him aside and thanks him over and over again for protecting his daughter. It can go anywhere from there just an idea!

Please do not feel the need that u have to do this! Much love 🤍🤍🤍

Not My Last Breath

Pairing: Rafe Cameron x Reader

Warnings: Being In The Hospital, Talks Of An Accident and Injuries

Pronouns: She/Her

Word Count: 0.5K

A/N: This is part two of Until My Dying Breath.

Masterlist

Her bill of clean health means Y/N can stay by Rafe’s side while the doctors keep him for observation. She traces her fingers over the lines of his palm, oblivious to the loving look her boyfriend is giving her. “Y/N/N,” a deep voice resonates through the room. The couple’s gazes turn toward the open door to find her parents. She scrambles out of her chair and throws herself into her family’s arms. Rafe notices the way her parents’ arms pull her in for a tiger hug. Her father presses a kiss to her temple. “We are so glad you are both okay,” her mother whispers loud enough for the whole room to hear. Rafe responds, “Thank you.” He averts his eyes, clawing at the thin bedding. This catches Mr. Y/L/N’s attention. “Why don’t you go get something to eat with your mother, Y/N/N? You need your energy,” he suggests. “I’ll keep Rafe company. Maybe you can bring something back for him too.”

Sensing he needs to talk to her boyfriend, Y/N nods and follows her mother to the cafeteria. Rafe takes a deep breath. His eyes are trained on the way the older gentleman turns to him, readying himself for a verbal scolding.

He promised to keep Y/N safe and he failed. He loves Y/N, but he’ll understand if Mr. Y/L/N forces her to break up with him. He won’t like it, but he’ll understand. He is going to buy her a house. Or better yet, he will let her have Tannyhill and he can move somewhere else. Maybe on the Cut. He certainly deserves to live in that hellhole after what he let Y/N get hurt.

The chair creaks under the weight of Clarence Y/L/N. Rafe’s brows furrow while he watches Clarence find his composure. Once his thoughts are arranged, Mr. Y/L/N says his peace. “Thank you.” Rafe is caught off guard. Out of everything he assumed would come out of the other man’s mouth, gratitude was not what he expected. “I’m sorry,” Rafe baffles, his head tilts. Clarence clears his throat, “Y/N/N told me what you did. That you protected her and put her first when the accident happened. That through the drumming of the rain, your reassuring words pierced through it and calmed her fear.”

“So you aren’t angry at me? You don’t want us to break up?”

The father’s head jerks to the side, “Why in the world would I want that to happen?”

“I got into an accident with Y/N on my back. She could’ve died. I put her in harm's way.”

“You didn’t mean for it to happen Rafe. You can’t control the weather or what the universe has planned. But what you could control was how you reacted. And in that moment your instincts told you to protect my daughter like you promised.”

The boyfriend lets out a sigh, “So this isn’t my last breath.”

Clarence chuckles and pats Rafe’s left shoulder. “No, Son. This is the first breath you take with my blessing to marry my daughter. When you are both ready, of course.” The injured male grins, placing his hand on top of the palm on him. “Thank you, Sir. That means a lot to me,” he reveals. High pitch laughter approaching the room stunts the conversation and both men grin at the return of the love of their lives.

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#rafe cameron #rafe cameron x reader #outer banks #rafe cameron imagine #outer banks fanfiction #outer banks imagine #outer banks x reader #rafe fic #rafe obx #rafe outer banks #rafe cameron oneshot #rafe cameron x female reader #rafe cameron x you #rafe cameron x y/n

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sunalee · 2 months ago

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jam to my heart — Jay

summary: The handsome guitarist set his eyes on you, and lucky for him, you did the same.

with: Jay (Park Jong-seong)

warnings: rockstar au!, enhypen as a band, jay is a smooth fella, he's charming enough to make my cheeks warm.

a/n: jay with a guitar is such a perfect sight i can't even ratiocinate. Some of the boys aren't metioned, but they're still part of this au.

“C'mon _____, let’s stay on the front so we can see them better!”

Ami calls you out, dragging you through the ’90s themed new pub you’re visiting, “Cords and Jam”. The place is really cool, with black and white checkered floors, red walls with various themed lamps, and posters of classic rock bands. The staff is very friendly, not to mention the drinks and snacks that make you want to spend your whole wallet there.

But the reason you’re here it’s the almost one-year hiatus, not having seen any live show since this period. You miss this environment, the thrill of waiting for the next band to perform, and even the sound check that the musicians do five minutes before the music starts.

Ami told you about this band tonight, Orange Blood. You haven’t heard anything from them yet, but they’re really known on social media for their impressive covers, skilled talent, and very, very, good-looks.

Rock is great, but a handsome guy playing makes the experience one hundred times better.

She drags you to the front as you both get your bubbling drinks, fortunately not having too many people blocking your path. You don’t mind being in the back of the room, it’s even better to dance there, but you won’t lie, it’s so exciting being right close to the stage, even with the frenetic heartbeats that make you want to take another sip of the drink.

The band finally arrives, five handsome men in their twenties coming in front of the stage. The crowd shouts excitedly, you join them with your own hollering.

“Good night, everyone! I’m Jake, and we are the Orange Blood!” The blonde lead singer announces, a cheeky smile appearing on his face as he hears the crowd’s euphoric cheers.

The drummer, a dark-haired lad with side shaved haircut and looks of a runaway teen, taps four times the drum sticks together, a cue for the other instruments to start playing as well. On Jake’s left side, there’s the keyboard player and the bassist, the two with similar features and exhaling confidence. You heard around their names were Sunghoon and Heeseung.

But it’s the guitarist on the right side of Jake who catches your attention; suddenly, he’s the only thing you can focus on.

Not only for his great solo at the beginning, but his very charming personality. The way his fingers pluck the strings with such mastery, as if it were as eyes as breathing, his built arms taken by cool tattoo shapes matching with his dark, medium hair, his thin and well cared lips that forms a pleasing smirk whenever he hears a praise from the female crowd.

And when you hear his smooth, deep voice singing on his microphone, your legs almost give out.

It’s like this man put a spell on you, taking you to a place without time, space or circumstance, all your senses fixed only on him, mind navigating and daydreaming about different scenarios where he’s the main star, and you, his forever partner.

The show was a blast. Everyone had the time of their lives, and Orange Blood for sure would receive a lot of invitations after this concert. The mysterious guitarist wipes his sweating forehead after waving at the crowd, his black regatta clinging on his torso and making him look even more attractive. Unfortunately, he moves away with the rest of the crown, sparing one last glance before going.

That glance goes directly on you.

You don’t know what to think about it, your heart racing and mind numb from the unexpected moment, but before you can try to come up with something, Ami is dragging you by the hand again, leading you to the bar.

She tells you that she’s going to call her friend outside and would be right back. “Don’t accept drinks from strangers” was the last thing she said before leaving. You decide to order another drink, sitting on a free stool there.

You start wondering about what that gaze meant, the sweet flavor of your pinky lemonade helping your mind work even with the pub buzz. But you focus so much on your thoughts, that you don’t notice the main problem right in front of you, brown eyes staring at you with amusement.

“Pinky lemonade? Sweeter than I thought you would be, huh?” That smooth, dreamy voice wakes you up, making your heart suddenly flips as you finally realize who just sat beside you. He gives you another one of his charming smirks, supporting his jawline on his hand while he extends the other in your direction. “Jay. A pleasure.”

“______.” Best say your name right away than rambling trying to come up with a sentence. “I-It’s nice to meet you too. You played amazing tonight.” You can’t help but blurt your thoughts.

“You think so?” He tilts his head, looking even more interested now, his eyes following you like a cat gazing at its prey.

You bite inside your mouth, feeling uneasy but not in a bad way. “Yeah, totally.” You nod to your own sentence. Jay tries to hold back a chuckle. “Uh, shouldn’t you be in your dressing room after playing?”

“And lose the party? What’s the fun in that?” He questions, raising his pointer finger to call the barman. “Same thing she’s having.”

Now you can’t help your chuckle. “Are you a sweet man too?” Your interest wins your nerves, showing Jay your playful side that he’ll surely enjoy in the future.

“I don’t like getting drunk. Especially not when I’ve just met a pretty girl like you.” He flirts without shame, making you swoop into his charm so easily that you even forget that you came with Ami here. Not that she wouldn't support you, anyway.

“I don’t know If I should be flattered.” But you’re not hooked enough to be fooled. Whatever this man wants with you, you want to figure it out now.

He gives you a knowing smile, as he just reads you like an open book in front of him. His pinky lemonade comes just in time for his answer, his hand holding the glass but not taking his brown eyes off you.

He wants you to know that feeling too.

“You should be.” He answers honestly, self-confidence boosting around him. “ It’s not every day that I set my eyes on someone special.” He moves to click his glass with yours, taking his time to take a small sip of his drink before leaning close to you, gaze and smirk never faltering.

“And when I find someone special, doll, I don’t lose my chance.”

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stylesispunk · 5 months ago

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"But daddy I love him"

ceo!Joel Miller x f!reader

summary: you made up a lie involving joel for the sake of both your companies. What would come out from all of this?

wc: 3k.

warnings: age gap and grammar mistakes because I didn't check my writing.

a/n: this is the mess that comes from my mind after a week of migraines and being sick. The idea is corny and stupid but I had fun and I know the rest is going to be fun too, so I hope you like it. (please read before I regretted it and delete) Reblogs and comments are always appreciated. Happy reading 💌

dividers by @/saradika-graphics

You sat at the head of the sleek conference table, your fingers drumming lightly against the polished surface. The room buzzed with a low hum of voice as the team discussed the latest financial reports and projections. Your mind, however, was elsewhere, focused on the challenge that lay ahead.

The company your father had built from the ground up was now facing unprecedented challenges. Competitors were closing in, and technological advancements were outpacing their current capabilities. Despite their best efforts, it was becoming clear that you needed a strategic partnership to stay afloat.

“Okay, what do you think?" John, the CFO, interrupted your thoughts.

You straightened in your chair, pushing a strand of auburn hair behind your ear. "I think we need to consider all options," you replied firmly. "Including a merger."

The room fell silent. Your suggestion hung in the air, heavy with implications. Everyone knew who you were referring to—Miller Enterprises, your fiercest rival.

"But your father..." John began, hesitating.

You raised a hand to silence him. "I know my father has strong feelings about Joel Miller. But we have to look at this objectively. Our future depends on it."

You could see the doubt in their eyes and the unspoken questions. How could they convince your father, a man known for his stubbornness and pride, to collaborate with the one person he despised the most?

The tension in the room was palpable as the team exchanged uneasy glances. You could almost hear the gears turning in their minds, trying to process the audacity of your proposal. The silence stretched on, heavy and suffocating, until finally, John spoke up again.

He called you by your first name to emphasize the gravity of the situation: "Do you really think there's any chance your father would agree to this? Joel Miller is his sworn enemy. They've been at each other's throats for years."

You nodded, taking a deep breath. "I know it's a long shot. I think their beef is stupid. I mean, my father hates Joel, and whatever the issue, they shouldn’t have passed it on to his son. And we have to at least try. If we don't, Carter Industries might not survive the next year."

Another voice chimed in, this time from Samantha, the head of marketing. "And what about Joel? Even if your father agrees, will Joel go along with it?"

"That's what I intend to find out," you said resolutely. "I'll speak to him tonight at the tech conference. We need to at least open a dialogue."

The room gradually filled with murmurs of reluctant agreement. The plan was risky, but it was the only viable option. The meeting concluded with cautious optimism, and you returned to your office to prepare for the evening.

Later that evening, you attended a tech conference at the Grand Hilton Hotel. The ballroom was filled with industry leaders, investors, and innovators, all mingling under the glittering chandeliers. You moved through the crowd with practiced ease, exchanging pleasantries and making mental notes of potential allies.

As you reached the bar, you spotted a familiar figure—Joel Miller. Tall, with a commanding presence and sharp features, Joel was in deep conversation with a group of executives. His eyes met yours briefly, and for a moment, you saw a flicker of surprise before his usual confident expression returned.

You couldn’t lie and say that the man hadn’t caught your attention; since the first time you saw him, you developed a crush on him, looking from afar at how he had been able to save his father’s company after he got sick, which was something you truly admired from him. However, the man seemed to be despicable, only showing cold behavior in front of others and in front of you; after all, you were the daughter of the man, whom he hated the most, and you had to pay for the sins of old men.

With twelve years ahead of you, Joel never took anything you did seriously. For him, you were the spoiled little brat daughter of his enemy.

Your name came out of his lips in such a sultry voice that your back arched. You turned around to face him, and he greeted you with a wry smile as you reached him.

"To what do I owe the pleasure?" he asked.

"Joel," you replied coolly, matching his tone. "I didn't expect to see you here."

"It's always good to keep an eye on the competition," he said, a hint of amusement in his voice.

You resisted the urge to roll your eyes. "I was hoping we could talk," you said instead, lowering your voice. "Privately."

Joel raised an eyebrow but nodded. He excused himself from his group and led you to a quieter corner of the room. The ambient noise of the conference faded slightly, giving you a semblance of privacy.

"Alright, what's this about?" he asked, his tone more serious now.

You took a deep breath, steadying yourself. "Our companies are in trouble, Joel.”

He widens his eyes at you, surprised.

“Yes, I know your company is in trouble, Joel. and we need to merge if we want to survive."

Joel's expression hardened, with a flicker of skepticism in his eyes. "You know as well as I do that your father will never agree to that."

"I'm aware," you admitted, your voice steady. "But I also know that you're smart enough to see the potential benefits. We need to find a way to make this work."

He studied you for a moment, his gaze intense. "And how do you propose we convince our fathers to set aside their differences and agree to this merger?"

Before you could answer, a waiter approached with a tray of champagne flutes. You each took one, the pause giving you a moment to gather your thoughts.

"We'll need to present a united front," you said finally. "Show them that we're serious and that this is the best option for both companies."

Joel took a sip of his champagne, considering your words. "And how do you suggest we do that?"

Your mind raced, searching for a solution that would make your proposal more palatable to your father. The idea came to you suddenly, reckless and desperate, but it was the only one that seemed even remotely feasible.

"We tell them we're having a baby," you said, the words rushing out before you could second-guess yourself.

Joel choked on his champagne, his eyes wide with shock. "What?!"

"It's not true, of course," you hurriedly explained. "But if they believe it, it might just be enough to make them put aside their differences and agree to the merger."

You held your breath as Joel's reaction sank in. His wide-eyed shock was exactly what you had expected, though it didn't make it any easier to withstand.

"It's the only way they'll take us seriously," you explained quickly, your voice low but urgent. "If they think there's a future together—both personally and professionally—they'll have no choice but to consider the merger."

Joel wiped his mouth with the back of his hand, disbelief still etched on his face. "You're suggesting we lie about something as serious as a baby? Do you have any idea how insane that sounds?"

"I know it's drastic," you admitted, stepping closer to ensure no one could overhear. "But think about it. They'd be forced to put aside their grudges for the sake of a grandchild. And once the merger is complete, we can come clean. By then, it will be too late to undo anything."

He stared at you, the intensity of his gaze making your heart pound in your chest. "And what if they find out before then? What if they never forgive us for the deception?"

You shrugged, trying to seem more confident than you felt. "It's a risk, yes. But it's a risk we have to take if we want to save our companies."

Joel ran a hand through his hair, his eyes never leaving yours. You could see the wheels turning in his mind as he weighed the pros and cons of your reckless plan. Finally, he sighed, a mixture of frustration and reluctant agreement in his expression.

"Alright," he said slowly. "We'll do it your way. But this better work, or we'll both end up paying for this."

You nodded, the weight of Joel's reluctant agreement settling over you. "Thank you, Joel. I promise, this will work."

He glanced around the room, ensuring no one was eavesdropping. "So, what's our next move?"

"We need to act fast," you replied. "We'll call a meeting with both our fathers and present the news together. We have to be completely united in this."

Joel's eyes narrowed. “And how is your father going to act when he finds out I touched his daughter?” he asked.

You took a deep breath, recognizing the concern in Joel's question. "I know my father is protective," you admitted, "but that's why we need to handle this delicately. We need to present a united front and show them that this decision is ours, not something forced upon us."

Joel's eyes remained fixed on you, the intensity of his gaze making your heart pound. "And what if he reacts badly?”

"That's a risk we have to take," you replied firmly. "But if we approach this with honesty and determination, they'll see that we are serious about our future—both personal and professional. They might be angry at first, but eventually they'll come around."

Joel sighed, rubbing his temples. "You’re a fucking child, and so stupid.”

Joel’s harsh words stung, but you squared your shoulders and met his gaze steadily. "Maybe I am," you said quietly, "but I’m willing to take this risk because I believe it’s the right thing to do. For our companies, for our future."

He looked at you for a long moment, frustration etched on his face, but something else too—perhaps a grudging respect for your determination. "Fine," he muttered finally. "We'll do it your way. But don’t expect me to protect you if this blows up in our faces."

"I don’t need your protection," you replied, your voice steady. "I need your cooperation."

Joel's eyes flickered with something that might have been respect, but he quickly masked it with a scowl. "Alright, then," he said, his voice resigned but firm. "Let's get this over with."

The following evening, you arranged a dinner meeting with both fathers at an upscale restaurant, choosing a private room to avoid any public scenes. The atmosphere was thick with anticipation and unspoken tension as you and Joel waited for your fathers to arrive.

When your father entered, his eyes immediately narrowed upon seeing Joel. "What is he doing here?" he demanded.

"Please, Dad, sit down," you said calmly. "We have something important to discuss."

Mr. Miller arrived shortly after; his expression equally grim. "This better be good," he said, his tone icy.

Joel and you exchanged a brief, reassuring glance before addressing the room. "Dad, Mr. Miller, we have some news that will affect both our families and our companies," Joel began. "We need you to listen with an open mind."

Your father crossed his arms, suspicion evident in his eyes. "Get on with it."

You took a deep breath, bracing yourself. "Joel and I... we’re having a baby."

The reaction was immediate. Your father's face turned a deep shade of red, his eyes widening in shock and anger. "What did you just say?" he thundered.

Mr. Miller's expression was a mix of disbelief and confusion. "This better not be some kind of joke."

"It's not a joke," you said firmly, trying to maintain your composure. "Joel and I are expecting a child. We understand this is unexpected, but we believe this is an opportunity for both our families and companies to come together."

Your father's hands clenched into fists, his voice shaking with fury. "You...you betrayed me. With him."

"Dad, please," you pleaded. "Think about the future. Our child deserves a stable, united family. And our companies need to work together to survive."

You still had no idea of the phantoms your father withe

Mr. Miller, though still shocked, seemed to be processing the information more rationally. "If what you're saying is true, then perhaps we need to reconsider our priorities. For the sake of the future."

Your father glared at him. "You're willing to forgive and forget just like that?"

Mr. Miller met his gaze steadily. "For the sake of a grandchild and the future of our companies, yes. We need to find a way to move forward."

The room fell silent, the tension palpable. Finally, your father exhaled, his shoulders sagging in defeat. "Fine. For now, we'll discuss this further. But know this: if either of you are lying, there will be consequences."

You nodded, the weight of your father's warning settling heavily on your shoulders. "Thank you, Dad. We promise this is for the best."

Joel gave your hand a reassuring squeeze, his grip firm but gentle. "We'll make this work, Sir. I promise."

The tension in the room remained thick, but the initial storm of emotions had passed. The fathers exchanged a few more guarded words, agreeing to meet again to discuss the logistics of a potential merger. As they stood to leave, your father pulled you aside, his face a mix of worry and anger.

"I hope you know what you're doing," he said quietly. "This isn't just about business. It's your life, too."

"I know, Dad," you replied softly. "But I believe this is the right choice. For all of us."

With a reluctant nod, he let you go, and you watched as both fathers left the room, the weight of their expectations pressing down on you.

Joel turned to you, his expression a mix of relief and residual frustration. "Well, that went...better than expected."

You managed a small smile. "Yeah. Now we just have to figure out how to make this convincing."

He sighed, running a hand through his hair. “Please don’t say we need to spend more time together”

Joel's words hung in the air; his frustration evident. You took a deep breath, trying to maintain your composure. "I know this isn't ideal," you said gently, "but we need to make this believable. Our fathers need to see that we're serious."

Joel rubbed his temples, a look of resignation on his face. “They know how babies are made, but fine.” he muttered. "What's the plan?"

"We need to start spending time together publicly," you explained. "Go to events, be seen together, and show that we're committed. We also need to have private moments where our fathers can see us interacting genuinely."

Joel looked at you, his expression softening slightly. "Alright. But let's make this as painless as possible."

You nodded in agreement. "We'll keep it professional and focused on the goal. We don't have to be best friends, but we need to convince them that we're building something real."

“But please, don’t make it public” he begged. “I need to sort some things out first”

You recognized the seriousness in Joel's tone and nodded, understanding his request. "Of course," you replied softly. "We'll keep it low-key for now. Just focus on sorting things out on your end, and when you're ready, we can gradually start making our relationship more public."

The next day, you found yourself immersed in a crucial meeting, discussing the finer details of the potential merger with key stakeholders. Despite the weight of the situation, you maintained your composure and focused on the task at hand.

As the meeting progressed, an urgent knock echoed through the door, interrupting the discussion. You glanced up, surprised to see Joel standing in the doorway, his expression stormy.

"Joel, what are you doing here?" you asked, your voice tinged with concern.

He strode into the room, his jaw clenched with barely contained anger. "We need to talk," he said tersely, his gaze fixed on you.

Sensing the gravity of the situation, you excused yourself from the meeting, motioning for Joel to follow you to your office. The tension in the air was palpable as you closed the door behind you, bracing yourself for whatever news had prompted Joel's unexpected visit.

"What's wrong?" you asked, your voice laced with apprehension.

Joel paced the room, his frustration evident in every movement. "Your father," he began, his voice tight with anger. "He's made the news public. He's announcing our supposed relationship to the world."

Shock rippled through you at the revelation. "What? But we agreed to keep it low-key until you were ready."

Joel's expression darkened. "Clearly, your father had other plans. He's blindsided us, and now our private arrangement is splashed across every news outlet."

Your heart sank as you processed the implications of your father's actions. "I can't believe he would do this," you muttered, a mix of disbelief and betrayal washing over you.

Joel stopped pacing, his gaze locking on yours. "You need to deal with this now!” he said, pointing at you.

"Okay, what's so wrong?" you asked, trying to maintain a calm demeanor despite the rising panic within you.

Joel's eyes bore into yours; his frustration was palpable. "Do you realize what this means? Our private agreement is all out in the open now. We're going to be scrutinized and judged, and God knows what else."

You took a deep breath, trying to steady your racing thoughts. "I understand the gravity of the situation, Joel. But you can't panic. We need to think rationally and come up with a plan to handle this."

He scoffed with a bitter edge to his tone. "And what plan do you propose? The damage is done. We need to contain this before it spirals out of control."

"Why are you asking so crazily about it?" you questioned, a hint of confusion in your voice. "We're in this together, Joel. We need to focus on finding a solution."

Joel's frustration seemed to reach a boiling point as he paced the room, his movements tense and agitated. "Because," he finally spat out, his voice laced with bitterness, "I have a girlfriend, and she's not too pleased about being dragged into this mess."

Shock washed over you as his words sank in. "Wait, what? You have a girlfriend?"

He shot you a withering look, his anger barely contained. "Yes, I have a girlfriend," he snapped. "And she's not exactly thrilled about the fact that I'm supposedly having a baby with you, of all people."

The revelation hit you like a punch to the gut. You had never considered the possibility that Joel might be involved with someone else. The realization that you had unwittingly become entangled in his personal life only added to the chaos of the situation.

"I had no idea," you murmured, feeling a surge of guilt wash over you. "I'm so sorry, Joel. I never meant for any of this to happen."

He scoffed, his expression filled with scorn. "Well, it did happen. And now we're both in this mess, thanks to your brilliant idea.”

He scoffed with a bitter edge to his tone. "And what plan do you propose? The damage is done. We need to contain this before it spirals out of control."

"Why are you asking so crazily about it?" you questioned, a hint of confusion in your voice. "We're in this together, Joel. We need to focus on finding a solution."

Shock washed over you as his words sank in. "Wait, what? You have a girlfriend?"

He shot you a withering look, his anger barely contained. "Yes, I have a girlfriend," he snapped. "And she's not exactly thrilled about the fact that I'm supposedly in a fake relationship with you, of all people."

You swallowed hard, the weight of Joel's words settling heavily on your shoulders. "I understand," you said, your voice barely above a whisper. "I never meant to cause any harm, Joel. I thought…”

“You didn’t think! That’s the problem." He snapped, “You’re a spoiled woman, just as I always thought, and you don’t care about anything or anyone.”

Joel's words cut deep, slicing through your defenses like a razor-sharp blade. The accusation stung, and you felt a surge of pain and frustration rise within you.

"I do care, Joel," you protested, your voice shaking with emotion. "I care about our companies and about our futures. I thought I was doing what was necessary to save them."

He scoffed; his expression hardened with resentment. "Save them? You're willing to sacrifice anything and anyone to get what you want, aren't you? Including my relationship, my life?"

Tears welled up in your eyes, a mixture of guilt and anguish clouding your vision. "No, that's not true," you whispered, your voice trembling. "I never wanted to hurt you, Joel. I never wanted any of this."

He shook his head, his anger simmering just beneath the surface. "Don’t you dare to cry when you were the one who came up with this idea?”

Joel's words hit you like a punch to the gut, intensifying the ache of guilt and regret that had already weighed heavily on you. His anger was palpable, his frustration tangible, and you felt utterly defenseless in the face of his accusation.

"I'm sorry," you choked out, your voice barely above a whisper. "I never meant for any of this to happen. I never wanted to hurt you or anyone else."

His expression softened slightly, but the anger still smoldered in his eyes. "I know," he said, his voice gentler now. “I’m sorry for talking to you that way... It’s just... this girl; I haven’t felt this way about someone, and I don’t want to lose it because of you.”

Tension hung heavy in the air as Joel's words lingered between you. The raw honesty in his confession took you aback, softening the edges of your own guilt and remorse.

"I understand," you replied, your voice tinged with empathy. "I never intended to come between you and anyone else. I just wanted to do what was best for our companies."

Joel nodded, a sense of resignation settling over him. "I know," he murmured, his gaze drifting to the floor. "But we're in this mess now, and we need to figure out how to fix it."

You nodded in agreement, a shared determination filling the space between you. "We'll find a way," you promised, reaching out to place a hand on his arm. "Together."

As your hand made contact with Joel's arm, you both felt a sudden jolt of electricity shoot through the air, a tangible spark igniting between you. His gaze lifted from the floor to meet yours, and in that moment, you both sensed a shift in the atmosphere.

Joel's expression softened a flicker of something unreadable dancing in his eyes. For a brief moment, the world's weight seemed to lift from your shoulders as you stood there, connected by a string that threatened to pull the both of you together.

´+

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