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trekscribbles · 1 day ago

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The Bushwhack Job: Bonus Chapter Part 1

Chapter One Chapter Two Chapter Three Chapter Four Chapter Five Chapter Six Chapter Seven Chapter Eight Chapter Nine Chapter Ten Chapter Eleven Chapter Twelve Chapter Thirteen Chapter Fourteen Chapter Fifteen Chapter Sixteen Chapter Seventeen

(Disclaimer: This is a relatively rough draft and subject to change when I post to AO3. I'm just overly excited and want to share what I have.)

Enough people asked for an epilogue that I decided to come back for one more chapter. I have two more scenes after this, but I didn't want this post to be 7,000 words long, so I broke it into 2 parts. I hope you like it!

“For the last time, Parker,” Eliot said through gritted teeth. “I can go to the bathroom by myself.”

“J.B. said I shouldn’t let you walk without your crutch,” Parker said.

Eliot threw a hand toward the door. “I’m going twelve feet. I don’t need a crutch.”

“J.B. says you do.”

“J.B.’s a medic. He has to say that. But I’ve done a lot worse on a damaged leg than walk across a hall, all right? I’ll be fine.”

Parker’s eyes widened. “Did you remember something?”

Damn. He hadn’t meant to bring that up, but it was too late to take it back, and he couldn’t lie to her. The truth was bad, but somehow, to her, a lie would be worse.

Time to change the subject.

“Give me that,” he grumbled, gently jerking the crutch out of her extended hand. He limped to the bathroom, barely resisting the urge to slam the door behind him. It had been three days since the explosion—the latest explosion, anyway—and his patience decreased with every passing hour. Rest, they kept telling him, and he was trying, but he couldn’t just lie in bed all day until J.B. decided he was well enough to be a person again.

He set his hands on the bathroom counter, glaring at his reflection in the mirror. No, that wasn’t the problem—not the whole problem, anyway. If he was going to get through this, he had to be honest with himself. Recovery was irritating, but he’d been through worse, and he did enjoy the quiet moments when Sophie came to sit with him, or when Nate gave him summaries of their previous jobs, or when Hardison worked silently at the desk in his room while he dozed, or when Parker napped curled up at the foot of his bed like a cat.

The problem was the memories.

Most of them came to him in his dreams: fragments of images stitched together with bursts of fear, of anger, of pain. He woke in a panic most nights, hour after hour, not sure if he was in an interrogation cell or a South American jungle or a frozen, lonely cave.

If the blood he imagined on his hands was his own, or someone else’s.

Hardison and Parker had taken to sleeping on an air mattress beside his bed, and he tried his best not to wake them, but the night before he’d jolted awake in the early hours of the morning to find Hardison tapping on his computer with his back against the bed. He didn’t say anything—didn’t even look Eliot’s way—but he was sure Hardison had heard him.

He’d already put them through so much. He didn’t want to add this burden as well.

Sighing, he turned on the faucet and washed his face in cold water, savoring the sharper sensation against the warmth and comfort he’d been wallowing in. A deep-rooted, unconscious instinct warned him that he couldn’t afford to get soft, that it was dangerous to get complacent, and it chafed at him every time someone told him he should be relaxing. He wanted to—wanted to ease their worries and prove that he was getting better, that he could pull his own weight—but each new memory made him withdraw further into himself, afraid to show his vulnerability.

Eliot ran his left hand through his hair, being careful to avoid the still-healing cut in his scalp. This couldn’t continue. He needed to get a hold of himself, figure out how to process his issues, and move on. He needed to be useful again.

First: a good night’s sleep. He’d tried to be on his feet as much as possible today, hoping to wear himself out before bed, and he was feeling the strain in his muscles. He finished washing up and changed into a new pair of sweatpants and a clean shirt—Hardison had gone to buy him extra clothes, and to replace the ones he’d ruined of Sunny’s—and stumped back to his room.

Parker was already tucked into the space between the air mattress and the bed, submerged beneath a pile of blankets Sunny had crocheted the winter she’d slipped on the ice and broken her foot. “Took up every new hobby I could find to keep myself from goin’ stir crazy,” she’d told Eliot the day before. “I still have my hooks and yarn in the basement if you want to give it a try.”

He wasn’t quite that desperate, but it was getting close.

Carefully, he turned off the light and leaned his crutch against the end of the bed. Maneuvering into it without stepping on Parker was a little tricky, but he managed, letting out a little sigh as his sore muscles relaxed against the mattress.

“That wasn’t so bad,” Parker said, her voice muffled beneath the blankets. “Was it?”

“Why sleep on the floor when you’ve got an air mattress right there?” Eliot countered.

“I don’t like how it dips when Hardison isn’t there.”

Hardison was still downstairs, but he’d be up in a few hours, if the last few nights were any pattern. Whether or not he slept on the air mattress was another matter. He had the first night, but the second, he’d spent as much time at the desk as the mattress. The night before, Eliot wasn’t sure he’d slept at all.

“You sure you’re comfortable?” Eliot asked, peering doubtfully over the side of the bed.

Parker poked her face out of the covers. “Yep. It’s cozy.”

Eliot laid back, closing his eyes against the light from the open door. “You don’t have to go to bed now,” he said. “Everyone else is still awake downstairs. I can handle a few hours on my own.”

“I’m tired,” Parker said.

He considered that. She’d been sleeping almost as much as he had over the last few days, and he had no idea whether that was normal for her. Her voice had been cheerful enough, and there was nothing to make him think she was lying—but he did, suddenly, inexplicably. Or maybe not lying, but... withholding.

Like he was.

“Parker?” he said, quietly, and was rewarded by the sound of her shuffling the blankets again.

“Yeah?”

“You okay?”

She hesitated just a second too long. “Yeah.”

“Because if you’re not...”

“I am,” she said. “Are you?”

“...Yeah.”

“There you go, then.” She settled back into her burrow of yarn, and he let her. He had no right to force her to talk, and he preferred to leave the offer open rather than keep digging on his own. He wanted to think she’d come to him eventually, if something was bothering her.

He laid back, resting his right hand on his stomach and folding the other behind his head. “Good night, then.”

“Good night.”

The hours passed in stretches of restless dozing, punctuated by bursts of wakefulness when the dreams started. They weren’t as disturbing tonight—no faces in his crosshairs, no bones breaking under his hands—but several times he woke and had to check to make see which injuries he still had and which had healed long ago. Hardison came in sometime after the fourth nightmare, and he sat with his back to the desk and the glow of his laptop lighting his face as he worked on who knew what. Eliot rolled to his side, then his stomach, then his back again, finding he slept better when the faint computer light touched his eyelids. Hardison hummed a few times, the melody low and soothing, and Eliot found himself listening for it each time he woke.

He’d just faded off to a wordless rendition of “Imagine” when a sharp cry ripped him awake. He shot upright, swinging his legs for the side of the bed before he remembered his healing gunshot wound, and pain knifed up his thigh and down to his foot. He froze on the edge of the mattress, hissing in a breath through his teeth, listening.

“Parker,” Hardison said softly. “Parker, look at me.”

Eliot blinked in the laptop light until he could make out the shape of Hardison kneeling on the air mattress. Parker was still bundled under her blankets, and the whole pile trembled as she shook her head.

“I’m sorry,” she said, breathless. “I’m sorry, Eliot. Go back to sleep.”

Eliot relaxed his grip on the bed, breathing out through his nose to soothe the pain still pinching his leg. “What happened?”

“Nothing—I’m sorry. I didn’t mean to wake you.”

A frown pulled at his eyebrows. Already regretting the movement, he slid to the end of the bed and eased over the side, settling onto the air mattress as carefully as he could without showing how much he hurt. Parker was still buried in her blankets between the air mattress and the bed, but she lifted her head when Eliot sat beside her.

“Move,” he said, pushing her gently with one hand.

She did, shuffling her entire crocheted mountain out of the way so Eliot could push the mattress against the bed. Then he sat, clenching his teeth together to hold in his pain as he bent his right leg, and patted the space beside him.

“I’ve been having nightmares,” he said, without preamble, without emotion. “Memories. Some of them are—a lot. It’s all a lot. I wake up sometimes and don’t know where I am.”

Somewhere under the blankets, Parker sat in the space he’d indicated and drew up her knees, wrapping her arms around them. Hardison, still crouched on the ground beside her, settled on her other side. “I’ve been afraid to sleep,” he admitted softly. “I keep thinking I’ll wake up back at the hotel, after we talked to the medical examiner. If I wake up and you’re not there...” He cleared his throat and tipped his head back against the bed. “So I’ve been coming in here and working on stuff, just... keeping an eye on you. Making sure you’re still here.” He tilted his head to look at Eliot and flashed a wan smile. “Is that creepy?”

“Yes,” Eliot deadpanned, and Hardison’s smile got wider.

Parker leaned forward to put her chin on her arms. “I know they’re just dreams. I don’t need you to tell me it’s not real.”

“It is real,” Eliot said, his voice low. He didn’t look at her, but when he saw her turning toward him in his peripherals, he leaned his shoulder against hers. “Whatever you dreamed about might not be real, but the feelings are. You still have to deal with them.”

She pulled a blanket tighter around her back. “How?”

He shrugged, his shoulder lifting hers. “Dunno. ‘M still working on it.”

“Do you want to talk about it?” Hardison asked.

Eliot turned, not sure if the offer was for him or Parker. He didn’t want to talk, didn’t want to open up the wounds he was still trying to understand himself, but he could hardly encourage Parker to share her problems if he wasn’t willing to do the same. All he had to bargain with was himself, but if the last few days were any indication… that was all she wanted.

He opened his mouth, but Parker shifted against his arm and let out a long, loud sigh. “I don’t want to be afraid anymore,” she said. “I want to go back to just feeling happy when I’m with you, instead of being afraid something will take you away. Is that... will that ever go away?”

He looked over her head at Hardison, who reached out to wrap his arm around her shoulders. “Come here, girl,” he said, but pressed himself closer instead of pulling her toward him. “This all... this is a wound. Fresh. Bleeding, still.” His eyes were on Eliot, and he lifted the hand on Parker’s shoulder to touch Eliot’s as he went on. “It’s gonna hurt for a while. All we can do is keep it covered while it heals.”

“Covered with what?” Parker asked.

“New memories,” Hardison said. “Good ones. Ones to go over the hurt, until it doesn’t hurt so much.”

Eliot closed his eyes. Most of his memories were new, right now, so he had the benefit of extra perspective. And as much as he appreciated—and agreed with—Hardison’s suggestion, he wondered if maybe something familiar might work just as well.

“I remember meeting you,” Eliot said. He kept his eyes closed, but he could feel their gazes on his face. “That first job we all did. I remember... Nate set up the meeting, and I thought... I was... curious. I wanted to know what you two could offer that I couldn’t do on my own.”

“You mean besides your nonexistent computer skills?” Hardison asked.

Eliot let out a huff of laughter. “The geek stuff, yeah. The thieving. But Nate was right, about us being able to do more together. About being better together.” He tilted his head and opened his eyes. “It isn’t just during jobs.”

Parker bumped her arm against his. She didn’t say anything, but he could hear her meaning as clearly as if she’d spoken out loud, as clearly as he’d heard her when he’d thought she was gone.

He pressed against her, passing the message back and knowing she’d understand just as easily.

He woke an hour later, still sitting on the air mattress, with Parker’s head on his shoulder and Hardison lying across their feet. His back ached from the awkward position, but Parker and Hardison were breathing softly, and he wasn’t about to risk waking them just to get more comfortable. With a sigh, he stretched out his neck, settled his cheek against Parker’s hair, and went back to sleep.

***

It was pain that pulled him out of sleep this time; he’d slept almost dreamlessly for the first time in a week, and he felt rested even as he registered how early it must be. The sky outside his window was dark, and Hardison was still snoring on the air mattress. Parker was curled around his head, her face relaxed in sleep, and something warm and fond worked its way through Eliot’s chest. As far as he could tell, they hadn’t had any nightmares either.

It seemed they were all healing.

Eliot rolled to the edge of the bed, careful not to step on the air mattress as he stood and crept from the room. His crutch leaned against the wall beside the door, and he was sore enough to use it as he made his way into the hall. The house was quiet, but he didn’t want to lie in bed any longer. His hands itched to do something productive, something other than resting and recovering and talking about his feelings.

Slowly, keeping near the wall and avoiding the squeaky spots he’d learned over the last week, Eliot eased down the stairs and limped into the kitchen. Sunny had left the light over the sink on, and it was plenty bright enough to find a wash cloth and soap. He started with the obvious surfaces—the table, counters, stove—but Sunny kept a clean kitchen, and only ten minutes had passed by the time he finished. A tougher job, then. He moved on to the oven, pulling out the racks, scrubbing off the baked-on messes, the grease stains, the spills. That took a while longer, and by the time he finished, it was after 6.

Eliot brushed his hair out of his face and surveyed the kitchen. Cleaning was numbing, methodical, almost compulsory—but it wasn’t enough. He needed to fix something, build something... create something.

He looked down at his unbandaged hand. Old scars covered the knuckles, and he could see the evidence of poorly healed breaks in some of the fingers. They were tools of violence. What could he make with such hands?

Teach me to like stuff.

Eliot’s fingers twitched. Parker’s voice preceded the full memory, echoing in his head the way he’d come to hope for, to rely on, and he let it play through his mind as he stared at the scars on his hand.

He pushed a plate toward her, but she looked up at him and shook her head. “It’s just food.”

“It’s not just food, all right? Some people could look at it and see just food, but not me. I see art. When I’m in the kitchen, I’m—I’m creating something out of nothing.”

He opened his eyes. There was no recipe, but he’d done this before, hadn’t he? Hardison had said he could cook. If his body could remember how to destroy, couldn’t it remember how to make?

A quick search of the kitchen yielded a few promising results—flour, sugar, eggs—and he found a mixing bowl and spoon in the cupboards and drawers. The measurements came to him as he worked: 2 cups of flour, 1/2 cup of sugar, 2 1/2 tsp baking powder, 1/2 tsp salt. He mixed them with eggs and butter and vanilla extract, and then, when he couldn’t find any heavy cream in the refrigerator, made a buttermilk substitute from milk and vinegar. The steady motion of mixing felt familiar, even with his left hand, and he let himself fall into the rhythm as his mind drifted back through his newly recovered memories.

“What are you doing?”

Eliot flinched. He registered the voice as Miguel’s half a second after he reacted, which was half a second too late. He took a moment to compose his expression before he turned, hoping his face didn’t look as red as it felt. “Cooking.”

Miguel stood in the doorway, and the quirk of his lips said he’d noticed Eliot’s response. “Why?”

“You don’t eat?” Eliot said, making a vague gesture with his spoon.

Miguel’s face twitched, and Eliot got the impression he was repressing a smile. “Why are you cooking so early?”

“I was up.”

Miguel moved to the counter beside him and took the empty pot from the coffee maker. “I guess that thing about 90 minutes was true, then. Hate to see what you could do when you’re fully rested.”

“Didn’t figure you’d want to see me at all after this,” Eliot said.

“Hmm.” Miguel glanced at the brace on his wrist and then back to the coffee pot. “I don’t. But I think maybe Sunny wouldn’t mind if you came to visit.”

“Not sure I’ll be going anywhere for a few days yet,” Eliot muttered. He spread some flour on a cutting board and pressed the dough over it, shaping it into a rough circle. Miguel watched him, filling the pot at the sink and scooping coffee grounds into the filter. When the coffee maker started bubbling, he leaned his back against the counter and nodded at the mixing bowl.

“What are you making?”

Eliot made a cut through the middle of his dough and answered without looking up. “Scones.”

“Where’d you learn to make those?”

The question was innocent, just casual conversation, and Eliot was relieved to feel nothing worse than impatience when he didn’t have an answer. He fell back on J.B.’s line: “Picked it up a ways back.”

Miguel snorted. “You two should put that on t-shirts.”

When the coffee was finished, Miguel poured two cups and set one on Eliot’s left side, then took a sugar bowl out of the cupboard and poured some milk into a creamer. “I have been here a while,” he said at last, dumping sugar into his mug without looking at Eliot. “The others come and go. Sunny helps the ones she can, the ones who can’t make it at the shelters. You notice patterns, after a while.”

Eliot set his scones on a baking sheet, listening with his eyes on his work.

“Some of them end up here when they’re between things,” Miguel went on. “Like J.B. He’ll move on once his job is done, and that will be that. And then others… some of them just make bad choices.”

“That you?” Eliot asked.

Miguel flashed him a grin. “I’ve been told I have trouble with authority. I don’t think that’s true. I have trouble with people who think they’re better than others. Sunny... she doesn’t think that way. She doesn’t care where you come from, what you did, long as you do what you can to help out.”

“You been with her long?”

Miguel took a drink, finally turning to look at Eliot while he spoke. “On and off since I was a kid. She never turned me away, no matter what I did. Always welcomed me back, put me to work fixing something—the railing, or the sink, or whatever. Sometimes I think she broke stuff just to give me something to fix. Something good to do, instead of whatever trouble I got myself into.” He shot a shrewd look at Eliot as he opened the oven door and slid the scones inside. “With that money your friends helped her find, she won’t have to worry about that no more. She’ll be able to help a lot of people.”

“And you?” Eliot asked, straightening carefully to keep his weight on his left leg.

Now that he’d unleashed it, Miguel’s smile was quick and genuine. “Who knows? I suppose I’ll keep busy.”

“Sunny will need some help herself,” Eliot said, keeping his voice casual. “A lot of people will want a piece of what she’s got now.”

“They’ll have to go through me.”

Eliot grinned and picked up the coffee Miguel had poured him. “Then there’s nothing to worry about.”

They were silent then, drinking their coffee and enjoying the smell of the baking scones. Eliot limped over to the little table after a while so he could sit, and Miguel waved him down when the timer went off and pulled the scones out of the oven himself. “Some of those people Sunny helps,” Miguel said, tossing the dish towel he’d used as an oven mitt onto the counter. “They come to her when they’re lost. Sunny has a way of orienting people, putting their problems in perspective.”

“She did for me,” Eliot said, meeting Miguel’s gaze across the table. “And I won’t forget it.”

Miguel picked a hot scone off the stove and blew on it. “You better not. She seems to like you, for some reason.”

“There’s no accounting for taste,” Eliot said.

Miguel grinned. “She likes me, too.”

“Like I said.”

With a short laugh, Miguel took another scone and sauntered out of the kitchen. “You better make more,” he said over his shoulder. “I like a big breakfast.”

Eliot drained his coffee, got up, and started another batch.

#leverage #eliot spencer #parker #alec hardison #fanfiction #fanfic #leverage fanfic #my fic #the bushwhack job #part 2 will include some more hitter-hacker-thief bonding #and will answer the question “what does sunny do with the money?”#i really hope this is some of what people were hoping for in an epilogue... I had these scenes in my head but they felt superfluous #i'm weirdly nervous about it now

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daisyachain · 1 year ago

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Restorative or Transformative?: Homoerotic Subtext, The Closet, and Ciphers in Pop Culture. The nature of commercial art is that it’s sometimes bad and inconsistent. Notably it’s also misogynistic. One way in which audiences try to reconcile massive plot holes or gaps in character motivation is by reading secrets or hidden information into a plot.

Commonly, male characters are interpreted as closeted gay or bisexual to reconcile the absence of women from commercial narratives with the generally stunted and poorly-written male characters that form the focus on said texts. This reading has become especially common among a non-heterosexual milieu. Rather than transforming the original text into some radically different new form, this closeted interpretation seeks to make the original text stand on its own as a story rather than a Swiss cheese of dumb writing decisions.

This interpretation only works for a specific type of pop, usually genre fiction. Any story in which tortured male leads eschew women in favour of male-male bonds (because female characters are constantly killed off, written sparsely, or written out, because the production team keeps casting their male buddies, because actors demand to keep having scenes with their bros, whatever) can become a sounder structure if you put one of them in a closet.

The gay interpretation is the natural consequence of shoddy misogynistic writing from ventures like Supernatural, Naruto, all the biggest hits. It’s also the natural consequence of more benignly misogynistic writing like The Adventures of Sherlock Holmes or The Lord of the Rings, where women aren’t necessarily rejected but are simply absent from the worlds of the protagonists. When the emotional crux of the story falls on male-male interactions, this reads as romantic because society at large priorities (definitively heterosexual) romance as the pinnacle of human connection. Two forces are in conflict, the primacy of heterosexuality (read as: romance) and the primacy of men.

Anyway. All that is to say that the typical gay or bisexual reading of male characters in pop fiction comes from a very real place. But, in some places, that’s the default interpretation. Angst, insecurity, secrets, double lives, fatigue, disappointment, restrained passion, stunted personal growth, anyone living in the closet can tell you that it impacts and defines your whole life to know that you live in a way fundamentally incompatible with The Proper Way that life is structured around down to tax law and superstore prices (which assume a heterosexual nuclear family unit). Characters in fiction also tend to have personal problems because that makes them interesting and tasty.

If you’ve grown up on stories with the specific type of misogyny that can be papered over with a closeted interpretation of the male leads, carrying this interpretation over to any male character will make sense more often than not. Even a bit of angst or insecurity? Well of course that makes sense if a character is closeted.

Except that’s hurt a normal part of fiction, and sometimes the closeted interpretation takes away from the point of a character. If a male character is on another axis of marginalization, the closeted interpretation imposed by the slash reading community downplays or trivializes the effects of that marginalization in the plot by overwriting it with another type of marginalization. Alternately, sometimes a character’s heterosexuality is a part of the story. There are some sorts of critiques or investigations of misogyny or masculinity that don’t work if the character has an ‘opt out’ of the cisheteropatriarchal perspective. Not that gay/bisexual men aren’t except from misogyny, but misogyny masculinity and heterosexuality are so tightly linked that it sort of defeats the point if you interpret that character outside of heterosexuality.

All that is to say—the closet interpretation is a quick and easy spice to apply to the weaker parts of action-adventure genre fiction to make it taste better. It draws from a large enough sample of art that it’s pretty widely applicable. Because of that, it’s part of some people’s [my] default interpretation package just because the semi-dull macho show at least gets less dull if you imagine there’s a reason for there to be no girls besides simple hatred. That then forms its own problem where the interpretation that works with your average genre work gets then blanket-applied to all genre works and obscures the places where the closet interpretation doesn’t fix the work, and actually makes it less interesting.

#kelsey rambles #I’m as guilty of it as anyone.#just thinking about Johnny Storm and like. bisexual ass character. deeply bi guy. but.#what IF he’s just heterosexual. what then. wouldn’t that almost be…more interesting #if he’s Like That and not closeted? what twisty gnarled psychological torments would a good comic have to explain him #and on the other hand. that one post I saw about how miles/hobie totally misses the point that their relationship is about solidarity #spider-punk and spider-byte’s alliance with miles are the same thing and to read it as romantic erases the important part #and on a third hand. when speaking of miles’ story. the stupid fucked Bendis running joke/subtext with Ganke #to have Miles be gay would possibly take away from the messy and interesting part of his character that is being a person with nothing #to hide. a totally honest genuine straightforward kid who is forced to start a double life by an outside actor #but at the same time it’s dumb and a cop-out to throw in that much bait and that much of a genuinely charged tense friendship #and then go ‘lol jk. nothing to see here’#the other thing is the semi joke in atsv about ‘coming out’ as spider-man #the most important thing about Miles having to hide is his relatively precarious position as a black kid. he’s not afforded the leniency #that Peter Parker would expect if he got unmasked. Miles is more cautious because he is in more danger because he’s Black #so to paint that struggle with the gay brush is to disregard the character’s raison d’être. while also #using that sort of language and structure deliberately puts a gay lens over that character and ignoring that or kicking it to the side #feels a bit cheap. to borrow the look and not the substance #way too many tags and it’s past my bedtime. thesis statement is:#miles morales is a character whose history is fraught with plenty of real gay subtext and whose character struggles are entirely divorced #from any sense of gender performance. he’s subtextually bi but that’s got so little to do with his story that it feels almost wrong to read #that into him because there is so much other interesting stuff going on with him

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