#deaths will happen on the job but there is a difference between a death being caused by brutality and one beinh caused by an accident or

[bibibbon]

One thing that makes me laugh about Hori's world building is the question are heroes allowed to kill, since Hori is a coward who can't decide, it disrupts the world building to an absurd degree. If Izuku had aimed to kill Tomura from the start, then Hori's narrative would have rewarded him. Izuku would still have OFA, possibly Ochako as his girlfriend and applauded as a great hero. The standard hero ending. But Izuku tries to save Tomura and fails miserably and is forgotten by his friends and the public. What is Hori trying to tell us? Kill then ask questions later? Based on the story Izuku should have taken Gran Torino's advice, he would be sad in the short term but he would have been happier and forgotten about the LOV.

Hi @agentterios 👋

MHA'S whole narrative messaging around the subject of "are heroes allowed to kill?" Is presented in an incredibly confusing and unsatisfactory manner.

Horikoshi doesn't directly address the question however, he does indirectly address it by introducing a variety of elements to his story surrounding the question itself.

You have things like:

The development of nomu intelligence. By the nomu's developing basic human intelligence this makes it so that the line between being human and a nomu so incredibly slim that if well developed this plot point could of been tied to heteamorphis discrimation with a side of people taking the route of one has to look human and another side pointing out that humans don't have a specific look in mha. There could also be more development with endings point of the only difference between nomu's and humans is that one is a puppet. This would make civilians question societies expectations for what a human is and would the heroes kill them next because they are comfortable with killing nomu's who are almost like them

Hawks and twice. I have talked about hawks and twice a numerous amount of times but my point still stands hawks could of saved twice instead of killing him. Yes, hawks did try in the beginning of the fight and his mission to semi try and save twice as his intention was to never kill him until dabi intervened and hawks lost it reverting to what the hpsc taught him and taking out the danger infront of him. Now, hawks should of had more introspection on this decision realising that he could of saved twice yet didn't and couldn't because he viewed himself not to be fast or capable enough to stop twice and chose to revert to instincts and the hpsc teachings of killing to dispose of the threat. Hawks could easily link his experiences and give advice to izuku about shigaraki. Hawks also needed more public consequences about killing twice because why the hell is the public more concerned about hawk's villain father then the fact that he killed a man? Was this to show where societies priorities are at? How messed up they are? And if it was why wasn't this brought back up?

Lady nagant. We needed more of lady nagant in general. The way she was used and created to be a killing machine. The way she only killed those who didn't fit the status quo even izuku's own reaction to her killing needs to be studied. The way izuku didn't have much of a reaction to her killing people but he had a huge reaction to finding out that she specifically killed the previous minister of the hpsc makes me think that hero society has a huge belief thay certain lives are much more important than others and that ranking is never fully explained but it seems like the outcasts of society like twice and the people lady nagant killed aren't important and wouldn't evoke a huge reaction to people because they don't care for them and hero society has infulenced that belief.

Izuku and shigaraki . This is the biggest element in the story and the most underdeveloped in my opinion. Why does izuku want to save shigaraki? Why does shigaraki only want destruction? Everyone encouraged izuku to kill shigaraki and believed that his death would be the only way to stop everything and in a way they were right. Shigaraki had to die for this to be over and it just seemed so badly done. Izuku gets labeled as a murder but also praised (barely) for his actions. Its so weird, how am I supposed to expect that society is going to rebuild itself to a better version when it ended in the most repetitive and toxic way by killing and upholding the status quo.

Endeavour and his aggressiveness. Enji has multiple records of flipping attempted murder whether that be him viewing vigilantes and villains as objects to be easily killed like nomu's or the fact that he cannocially has many reports of property damages.

Dabi's fate. My point stands that death would of been mercy for poor dabi. So are there cases when killing should happen or should all villains be forced to live even if it has to be through horrible circumstances like dabi's? At this point it seemed like toga's death was a better ending then dabi's.

In conclusion, mha's status quo was never really broken or rebuilt into a better version and the discussion surrounding the question should heroes kill? Was never properly answered or changed.

The series begins with the answer that Yes! Heroes can kill but they can only kill villains and rejects of society while keeping all of this away from the public eye. However, if it is in the public eye just dehumanise the victim, its not like hero society didn't continually threaten villains with all the graffiti in toga's House or the publics reaction to dabi.

(Ps I do think that izuku was handed the short stick and would of suffered either way. Even with the horrible execution the series make it clear that izuku chose a thorny, hard path but what's worse is that the path doesn't seem to be worth it or hasn't changed anything)

Also izuku's whole arc doesn't depend on him having a love interest and a quirk because he could be a hero without those things it's the execution that sucks

[save-the-villainous-cat]

mother feed us we are hungry in horny jail

"I didn't expect you to show up," the hero said. They worried their bottom lip between their teeth.

"How could I not?"

"You have never been a fan of goodbyes. You usually just disappear whenever you want."

"This is different," the villain said. They took a step towards the hero and touched their collarbone immediately. It had become a habit, a simple motion that calmed both their anxiety. The hero knew about that, about the endless worries and the bottomless fears. It was everlasting, it was always hovering.

It came with the job, they supposed. But the villain had it, too. And the hero's colleagues had it and the hero's boss had it. Like a sickness with no cure.

So, in a way, a simple touch could be like medicine.

"I'm scared," the hero admitted.

"Why?" The villain pressed a soft kiss to the hero's shoulder and the hero allowed themselves to imagine this was an evening like any other. Just for a second, though.

"I can't lose you and I...I just can't let go. I can't. I don't want to."

It had started half a year ago. The villain had been injured and the hero, although absolutely terrified, had saved them from certain death. Ever since, the villain had been like a protective shadow that followed them.

And then one night, they had kissed for the first time when the villain had saved the hero.

What had happened after that was quite clear: two people who were not supposed to be with each other couldn't keep their hands off each other and started regularly without anyone else knowing.

And now, the villain had to leave for three months.

"You don't have to let go," the villain said. Their voice was - as always - calm and soft. Their hand travelled down the hero's side until it reached their hip and the hero couldn't fight the oncoming blush. "I promise you won't have to."

"But what if you come back and you don't like me anymore? What if you find someone else?" the hero asked. Those questions had boiled inside of them for quite a while but up until now, they had never dared to whisper them.

Because, after all, this relationship wasn't official. It wasn't a thing. It was behind the backs of bosses, friends, family even. Behind closed doors. They didn't go out together, they didn't pick up each other from work. They didn't meet the other's family. They didn't go on vacation together, they weren't friends with each other's friends.

It wasn't what the hero had expected. But the hero had also not expected the villain to develop such a soft spot for them.

And if someone else could give the villain exactly that: a relationship without all the secrecy for outsiders, then maybe it was better for the hero to let go now.

"No one compares to you, my love," the villain said. Their lips met the hero's and it was tender enough for the hero to feel protected from even anxiety. "And I am selfish. I want a good person to be my lover. You are, undoubtedly, the best human being I will ever encounter in my life. I'd be stupid to throw that away for a quickie."

"You mean that?" The villain started to kiss the hero's throat. At first, it was quite innocent but the hero's heartbeat started racing when they realised the villain was taking their sweet time and turned kisses into suction. Every hickey they left behind, they kissed softly.

"You want me to prove it," the villain murmured against the hero's throat, "don't you?"

The villain took the overwhelmed hero's hand and pressed their nemesis against the desk of the hero's office.

"I...I..."

"Yes?" The villain's hips were against theirs in seconds and the hero (stupidly) couldn't find any words. To have the villain's undivided attention on them, their entire focus, could be overpowering but whenever the hero felt anxiety crawl up their calf, the villain's fingers crawling down their thigh relaxed them.

"Please don't tease me," the hero begged. They grabbed the villain's forearm and squeezed weakly. Partly as a warning, partly as a plea. They took in deep breaths. The villain desired them like no one had before.

It was nearly ridiculous how much the villain needed touch. Sometimes, it seemed like they needed physical contact to function. In the mornings, the hero had to climb on top every time, touching the villain's chest and throat to get them to come out of bed.

"Don't worry, darling." The villain found the zipper on the hero's back and pulled down slowly while their eyes jumped from the hero's eyes to their lips. Their flat hand slipped under the superhero suit, touching tired muscles and scarred skin. The hero had been on guard duty the last few hours, so naturally, they were a little tired. "I will tease you a little. Only a little."

Their hand traveled down the hero's bare back. Their fingers stopped when they reached the hero's underwear. And the hero had to gasp for air. Too surprised to take over any type of control, they put themselves into the villain's hands and the villain played with the fabric of the hero's underwear between their fingers.

"You're evil."

"So I've been told." The villain smiled their brilliant smile and tipped their head to the side. "I love you."

The hero's heart stopped. The villain had never said that before.

They wanted to say it back, but the villain's hand was on the best way to slip under the hero's underwear and do some unholy things. So, the hero only sighed happily, despite the dooming last night together, despite the fear and the anxiety. In three months, a lot could happen.

But the villain was here.

"Those thoughts of yours are so silly." The villain pressed another kiss to the hero's lips, more demanding this time. With their thumb slipping into the hero's mouth, they asked for access and the hero nearly melted when they felt the villain's tongue in their mouth.

They could barely kiss back. Could barely think.

"You're mine, don't you know?" the villain whispered and a shiver ran down the hero's spine. The villain was serious. Very serious. "And now, let me prove it to you."

[randomly--accessed--memories]

@storm-ismyusername

Okay, so, the "Vox's kids die as children AU." I came up with the image of Vox keeping his kids in a fish tank first, but upon further reflection, I've realized that it doesn't really line up with the timeline I've established.

Vox's children were 7 and 10 when he died (1957)

Vox worked under an overlord for 3 years after his death before he broke free, started his own business, and met Alastor (1960)

He and Alastor were friends for 6 years until they fell out (1966)

Vox gained official overlord status 2 years later (1968). By the time Vox had the resources for the fish tank plan, his kids would've been 18 and 21.

The only window of time where Thomas and Sarah can die and still be children is 1957-1961, so it would have to happen when Vox was still in the employ of his overlord. I actually think the idea of struggling single dad Vox is really charming, so let's go with that.

With that background, I'm not sure if Vox would feel the need to do the fish tank thing since they went 15 years with nothing going wrong. Maybe it exists, but Sarah and Thomas aren't confined to it 24/7. Everyone already knows they exist, so they're allowed to move around the tower as they please (they are absolutely not allowed to go outside, though).

Okay, with that out of the way, onto the responses. Gonna answer this in parts: this one is the pre-canon stuff, the next will be the canon stuff, and the third will be RAM stuff.

Ondine & Fineas where they die as kids: How does child Sarah and Thomas react to: 1-Dying 2-Going to Hell 3-Reuniting with your dead Dad (who now has a TV for a head) Would any of their Sinner features be different? Is it weird I can see Vox being more fatherly to Sarah and Thomas than he was in his human life? So when Sarah & Thomas die as kids does Vox find them before or after his big fight with Alastor? If before, what would Alastor make of the situation?  How long does Sarah and Thomas fend for themselves in Hell? A few days, a few weeks, a month, a year?  Did someone find the first? Did Vox only learn his kids were in Hell when someone was using them as blackmail against him? Did Sarah and Thomas watch as their father brutally murder their kidnapper in front of them?  Maybe another Overlord (like Carmilla, Zestial, or Rosie) found them and gave them to Vox because they felt threatening children was beneath them and drew the line at hurting kids. Wait what if Alastor found them first? What would he do with them if he did?

Okay, so Sarah and Thomas die somewhere between 1958 and 1959. They still drowned, maintaining their aquatic theming, but I'm not sure how exactly– could've been from their mother driving under the influence and crashing the car through a bridge's guardrails, could've been just regular drowning at the beach or something. Their mother survives, so they land in Hell alone (I have no idea what an 8~9 and 11~12-year-old could've done to get sent to Hell, but let's just move on).

Not sure how Vox finds them. In the main AU, they found him by recognizing his voice in an advertisement and seeking him out, but at this point, Vox is just some random nobody. Let's just assume he got extremely lucky and happened to come across them 1-30 days after they first arrived but before anyone else thought to scoop them up. Vox is horrified that they're dead and in Hell and privately swears to permakill his wife for letting this happen if he ever sees her again. He brings them back to his shitty little apartment and starts trying to figure out how the fuck he's supposed to care for children in Hell.

Despite the circumstances, Vox is actually a better father in Hell than he was on Earth. He has nothing to his name other than a shitty errand boy job, a tiny apartment, and his two small children, who he thought he'd never see again. While the stress of having to provide for them is a beast, losing everything sort of forced him to get his priorities in order. They become far more tight-knit than when they were alive, as Vox is forced to spend more time with them and get creative when it comes to meeting their needs.

It's all quite the adjustment for Thomas and Sarah. Dying and trying to survive on the streets was as traumatizing as you'd expect. Reuniting with your dead dad and having to adjust to living in poverty is also a lot to take in. Every day, they're stuck in a one-room apartment with gunshots constantly going off outside and explicit instructions from their father to be as quiet as possible and not open the door for anyone– very different from the upper-middle-class suburbanite life they were used to. Eventually, their dad will come home with cheap food, they'll spend time together for a while, and then they all curl up together in their singular bed and try to sleep. Wash, rinse, repeat. It's not a comfortable life, but it's definitely more intimate than how things used to be. Thomas starts letting go of some of his resentment of Vox since he can tell he's actually trying now, and Sarah's view of him as A Good Dad, Actually solidifies.

Eventually, Vox secretly kills his overlord, starts his first business, and is taken under Alastor's wing. Things become more comfortable for the three of them, and Alastor becomes something akin to a weird, kind of fun uncle to the kids. Things are looking up for the family as Vox starts to build power and wealth. It's horrifying for the kids when Vox comes home one night without a head and swears revenge on Alastor, but that incident only adds to Vox's upward momentum. After ten years of struggling in Hell, Thomas and Sarah (or rather, Fineas and Ondine) find themselves back in the lap of luxury as their father claims the title of the Overlord of Television.

[dragon-toad]

HOT TAKE : Makarov was a bad father (and a bad grandfather)

I'm expecting a big wave of hate with this one... BUT LET ME EXPLAIN

We can dive into the generational trauma theory : we know Yuri has been profoundly hurt by his wife's death (giving birth to Makarov) and this is a thing we should consider. In most cases, people live with the burden of the death of their partner until they die, which could have been Yuri's case. And the idea that somehow his wife died for his son... Well, angst potential.

Now : death of a loved one + wife who dies giving birth to his son = difficult father-son relationship

And even if Yuri didn't do it intentionally, there could have been a distance between the father and the son, and it has repercussions on the futur.

So yes, it maybe happened completely differently, but let's consider this hypothesis to understand what comes after :

Makarov was raised in the guild, where everybody is friendly. The only thing is his daddy issues. He ends up considering the guild more important, so the thing to cherish and protect at all cost.

Everything is fine.

Then, Ivan enters the game.

I know it's very fun to have an antagonist in the family of the master, the man presented as the most loving, a father for all the lost children, etc. BUT maybe we can go a little deeper.

We sometimes have this idea that some characters are born meaner than others, it allows us to ignore psychology and sociology, but it's not fun.

We can suppose Ivan was born in the guild, like Makarov and certainly Laxus. And as it's shown every single second that Fairy Tail is a very healthy environment, a "big family", so even if Ivan was a bit twisted, he would not have been so mean with his colleagues, provoking his exclusion, and he would have not tried to destroy the guild.

Unless he have daddy issues too. Let's consider : Makarov has a son and the mother is nowhere to be found. Doesn't it remind you of something ? But Makarov know his relationship with his father wasn't awesome, so he tries differently.

So two possibilities can be explored :

1- Ivan is a spoiled child. Being the master's son allows him to do reprehensible things and not be punished after, or not too much, and Makarov wants to give him all the freedom he didn't have. Until he almost kills another member of the guild. Then Makarov is forced to expel him. He takes away the thing that gave Ivan an almost unlimited power, and he doesn't like it. So if he can't have Fairy Tail, nobody will.

2- Makarov prefers the guild to his son. He doesn't know how to raise a kid, what if he screws like his father ? (Spoiler : he does) So when Precht makes him the new master, he puts all his soul into his job. But Ivan wants a father. So he does everything to make his father notice him, to make his father proud. It leads him to dark places, and thus, being strong = being good enough. Unfortunately, it doesn't work, because he ends up expelled. So, by pure rage, he decides to destroy the thing his father loved more than him. (It's my favorite version)

In both cases, Ivan manipulates his son into believing that being strong is the only way for him to be respected, to be seen.

Which leads us to the Laxus part (finally)

It's canon that Ivan pushed his son to be the strongest (to the point he put a lacrima in his body) so yeah, Laxus has daddy issues. But he has gampa issues too.

Let's continue with the theory we built on this post : Makarov doesn't really raise his son, why would he raise his grandson ?

But we see Makarov taking care of a very young Laxus. Thus, Laxus once loved his grandfather. Except Ivan didn't. So we can suppose he decided to keep his son under his control by manipulating him into thinking he has to be the strongest.

Then Ivan was banned.

The problem with an abusive relationship is that the victim thinks the abuser is on the right, which explains why Laxus was all but happy his father was expelled. But he stayed in Fairy Tail, because despite everything, Fairy Tail is his home. But this home is controlled by the man who banned his father (his abuser)

Laxus becomes a rank-S mage, which means he's the strongest. He has all the rights to make Fairy Tail his home, not Makarov's.

Well yes, but no.

Because there's Mirajane, a prodigy so fucking strong she becomes a rank-S mage too. But Lisanna dies, and suddenly everybody loves Mirajane. She even becomes the right arm of Makarov, because she's too weak now to create problems now.

And there's Natsu and Gray, Makarov's little boys. They're noisy, annoying, but they have potential. They have the potential to become stronger than Laxus. And Makarov loves them.

But more important, because there's Erza, who is so strong, so kind, so nice... Who is his grandfather's favorite. The same grandfather who did nothing when Ivan imprisoned Laxus into a psychological jail and who banned Ivan for somebody else's weakness. And Laxus knows it : she is the future master of Fairy Tail. She will steal his home and make it even weaker.

So he has to take Fairy Tail now, even if his grandfather dies in the process. Better, it will make things easier !

But in the end, Laxus loves Fairy Tail. He loves the guild enough to not betray everybody by joining his father's guild.

Laxus broke the cycle. And I don't think it was thanks to Makarov. If Laxus broke the cycle, it's because despite everything, he has weirdos to stick with. The Raijinshuu are a safe place for Laxus, they are strong enough to be his friends colleagues, they don't call him "psychotic" when he tells them he wants the guild, and more important, they care for him.

Laxus broke the cycle thanks to people who cared for him. They even wanted to follow him when he was banned ! But he said no, because he care for them and he knows they will be better in Fairy Tail.

Now, let's consider : travelling must have felt like therapy for Laxus : he's not part of Fairy Tail anymore and he's sure he will never have the possibility to come back, but he will not join his father because he doesn't want to put his friends in danger. So he has to do something by himself, not under the influence of his father. And I believe this emancipation was beneficial for him. He could learn what it means to be himself, not Ivan's son or Makarov's grandson.

I don't think he fully forgave Makarov for his inaction and for loving other more than him, and he's not completely out of Ivan's philosophy, those things need time, but he escaped the cycle.

[born-to-lose]

I love being the always single person in my family, mad respect to my sister for constantly dating guys for the last 8 years, I would have shot myself

[lynnuvo]

Of Course a Prince Needs a Princess

Characters: Yandere Prince x Female (Y/N) In which you reincarnate into a fairytale where Yan!Prince wants his happy ending too

𝑃̲𝑟̲𝑜̲𝑙̲𝑜̲𝑔̲𝑢̲𝑒̲

Having a second chance at life in exchange for the death of your previous one came with a crash. You weren't sure how it happened, but you luckily retained your memories and your wit.

It didn't take long to find out you were in a world akin to Cinderella's story--from the stepmothers to the talking mice to the royalty the citizens praised. Unfortunately, you weren't looking to live in a grand castle. Or maybe you were, but not with being married to a man you don't have feelings for. The original couple got together so quick, yet they barely knew each other. That story was definitely as it was: a work of fiction

Your new plan? Put up with the stepsisters, find a job elsewhere, and make enough bank to live comfortably in the village away from your family. You've never heard of laws in Cinderella's fairytale, but you were certain that the kingdom couldn't possibly force citizens to live with toxic family members.

𝑇̲ℎ̲𝑒̲ 𝐵̲𝑎̲𝑙̲𝑙̲

After spending a few months doing chores and odd jobs around the village (the latter for some extra cash), your family finally received news of the fated ball.

You initially didn't plan on going, but you deserved a break. You didn't bother asking for permission to go; your stepmother definitely wouldn't allow it. The main problem was summoning Fairy Godmother.

Luckily, she couldn't tell the difference between fake tears and real ones. You behaved as close to the actual Cinderella as you could recall, and POOF!

With your new attire and coach, you made your way to the most gorgeous castle your eyes have ever fell upon.

It didn't take long for the prince to notice you, but this is where you drew the line at this fairytale life. You rejected his proposal to dance, shocking the other guests. You had to resist a smirk at your step-family's reaction.

Flabbergasted, the prince left you swiftly and moved onto another fair maiden. You indulged yourself in the catering happily, but after your stomach was filled, the stares of passerby began to discomfort you. The prince was occupied with another dance, so you wasted no time leaving the palace early (much to the confusion of the knights who stood guard).

The spell broke while at home with no evidence of your night out, not even the glass slippers. When your stepfamily returned, they bragged about their time and briefly talked about you (luckily not knowing you were the one who was "stuffing their face like a pig starved."). After that day, life returned to normal.

Or at least what you thought was going to be normal.

𝘙͜𝘶͜𝘯͜𝘢͜𝘸͜𝘢͜𝘺͜ 𝘊͜𝘪͜𝘯͜𝘥͜𝘦͜𝘳͜𝘦͜𝘭͜𝘭͜𝘢͜

Beginning that night, Yan!Prince thought about you often. He never imagined a young lady would ever reject his proposal to dance, though he didn't hold it against you. It was just a shocker.

Despite that, you appeared in his mind before bed and after he woke up, while he ate and while sharpening his combat skills. Even if he told himself that that one incident was nothing more than a brief interaction with a citizen of his kingdom, he couldn't forget the color of your hair, your pretty face, and how you paid oh so much attention to the food his family prepared just for that ball.

Upon overhearing the chefs gush about their gratefulness towards their food being appreciated so much, he made up a personality for you: kind but forward, honest, valuing true intentions and love over gold and high status.

Too bad for him, gold was your highest priority. While he began going on strolls into the village in search of you under the impression of catching up with the townsfolk, you continued job-hunting and tending to the house. You even decided to cater to your stepfamily as best as possible--subtle enough so they wouldn't think you were trying to suck up to them.

Surprisingly, your relationship with them improved just a bit. But it was what you needed to get permission to work at a bakery in the village.

Once you discovered he was visiting the village often, you did your best to avoid the bakery window while working and hurry home once your shift ended.

Unfortunately, you both ran into each other just as you closed up shop. In a small panic, you inquired about him for the sake of courtesy. While you two spoke, he couldn't help but notice a striking resemblance between you and the lady who turned him down at the ball. You could tell from his facial expression he was piecing things together, so you abruptly bid farewell and ran away.

He would visit you a lot. After replying to his inquiry that you weren't the girl at the ball, he'd joke about it a lot (there was no other gal in the village like you). It didn't take long for rumors to spread amongst the kingdom that the prince had taken a fancy to you. You hated it. He didn't mind it. In fact, it no longer mattered whether you were the girl at the ball. Something about you pulled him in like a hook. Perhaps it was the determination he observed through the window. Perhaps it was the way you handled children while taking a breather outside as he ate inside. Perhaps it was destiny.

As time passed, you grew more tolerant of him. While you didn't want him to be your romantic partner, you guessed you were okay with being his friend. As time passed, he grew more frustrated you weren't his. His father took note of his unusual agitated self, but he waved it off as stress when thinking of a future bride.

"What about that lady the people are saying you like?"

"Oh, her? She has....a way with herself. It seems that she's not interested in me."

"Perhaps you both need a bit of a push."

Since then, the King made a few visits to the bakery to chat--no marriage mentioned. He wanted to see what you were like. Although you were a kind girl, he confronted Yan!Prince with the truth that he probably wouldn't have a spouse who didn't want him. It broke his heart to hear, but he wasn't ready to let go yet.

You were already preparing your escape long before the ball, but the pace of your plan sped up now that the prince was on your trail. You found out about the closest kingdom from acquaintances and saved up funds to use on your journey.

When the prince discovered you had quit your job via a disappearance, he visited your home. Your stepfamily was in shambles (literally. The place was filthy.) and shared that you had disappeared overnight with your belongings. There was no mistake in it: you had abandoned him.

Framing your escape as a possible kidnapping, he ordered guards and encouraged the rest of the kingdom to search for you. All of his efforts was on the search.

Photography didn't exist, so you were fortunate that the description he gave out about your appearance was vague. Somehow, you made it to the nearest kingdom with a plea to the guards that you made your way there in search of a better life. The Queen was kind and sponsored a place for you to stay for the first five months while you adjusted to your new life in exchange for you finding a job. It didn't take long to do so with your desperation.

In no time, you were living a much happier life in your home, with your new friends, and even someone who kept catching your eye. Talk of the nearby kingdom's drama was entertaining, even more so with the subject amongst them.

Meanwhile, the prince's mental and physical wellbeing deteriorated. Some say the search took a lot out of him. Some say he was so heartbroken, he had no will to live. Maids in the castle whispered about the prince being locked in his room from the outside because he grew violent--so out of character! Disturbed, the King confided in only those closest to him about his woes. Whatever did that woman do to infatuate his son so much! No one could approach him anymore. He ate and drank only when he needed to. His room became a mess. How did such a sorrow fall on the family of royal blood when there was so much potential for happiness to look forward to?

Anyone could guess that were was no point in a happy ending for romantic fairytale if there was no romance to begin with.

[littlelightfish]

Holm nation... I have a heartbreaking announcement to make.

We didn't get to see this panels animated.

(I wanted to see Laios helping him, this one isn't the one this post is all about)

I feel it's important to his character enough that Kui decided to dedicate three panels about how he aproaches and resurrects Kabru.

He is used to resurrecting people, his party sucks at keeping themselves alive. He walks up to Kabru's corpse with a worried look on his face. Then he kneels besides him and takes a second to process what he is seeing. He is seeing a young man, Kabru, dead. It makes him feel unseasy, a bit of shock that he can't take the luxury of process at the moment. He doesn't want to look, so he closes his eyes and focuses on his spell. He is realizing he is the only one alive from his party (he doesn't know where Mick is or how he is). He is the last one standing. The reality of it all slaps him in the face.

The panel of him just... looking at the mess Kabru's corpse is was just... It was important. It talked about him as a character. "I'm not doing this because I want to, but because I have to". He doesn't has time for emotions. He has a job to do.

It's just three panels. But they provide lots of context between the ones that came before and after.

He doesn't just rubs Kabru's head because he's being afective. He does it because he cares. He does it out of relief. "As long as I'm here, any of you'll be dying soon. And I'll always be here. Don't worry." He is far from being OK after all this. Marillier died, Daya died, Kuro died, Kabru died, Rin died, Mick probably died too (but he doesn't saw it). He... By the time he was the only one standing, the fight was over, and he could alredy resurrect them. He wants to feel sad. To worry, to be concerned, to mourn. But he can't. It isn't necessary.

He is a cleric. He for sure has a notion of dead way different than anyone and feels a certain way about resurrection. "Dying is dying, even if you resurrect." It's a bug at the corner of his mind, he doesn't pay it any attention. He gets resurrected multiple times, he is gratefull he is alive. But seeing all his friends dead? And the most of them mutilated? Covered in their own blood? He has this desire to mourn. To cry the loss. To panic. "They are all dead."

He knows they'll come back. He has to make them come back. So he does. And they are alive. But they weren't a few seconds ago. And he just plays it off, he puts his calm face on as soon as there is another party member alive that could ask him what happened that it disturbed him so much. He throws all those sad feelings under the rug and focuses at the task at hand.

They're going to be ok, he just has to do his job: bring them back from death. They shouldn't even be dead. But they are. And he's going to fix it. No point on feeling sad about them dying if they can be alive soon!

I think the concern that the anime puts here it's something that could come close to what he feels inside. Those seconds are the only ones we see him looking something akin to worried for his friends.

But then...

His worry vanishes in seconds. The moment Kabru revives, he does it in such a "Kabru" way, that he tells himself: "This is fine, they're going to be back soon, nothing to worry about, I just have to hurry". He wants them all back to live. We know for sure that in his priority list there wasn't any "reviving Toshiro's party members first". He was going to make sure all his party, all his friends, were alive before even thinking of resurrecting other people if he still had the magic.

Those three panels they didn't animate are something that was there for a reason. To give depth to Holm. This last episode is definitely the one in wich he shines the most. He isn't the main character at all this episode, but he does the most important stuff on the background. He revives them all. This all lack of something if you don't show what Kuy drew on those panels.

Here he just... goes to work. He says: "lemme handle it" and he does. No concern, no worry, no, nothing. He just does. No thoughts.

It makes me sad. Those panels were important. :(

[animeshotsh]

Devils Touch | Dad!Lucifer x Kid!Reader |

Summary: Being forced to take pills alongside your mother just seems enough to end in hell...

Warnings: Suicide mentions | Death | Canon Violence| Cursing | Lucifer its a softie | SFW | Reader its between 5-7 | Reader takes the form of a sheep/cat mix | Reader's mom sucks tbh | Maybe platonic!yandere Luci? |

When you opened your eyes everytning was red. Screams and insults filled the air, the smell of blood and other things you could not understand filled your nose making you gag.

"Mom?" You asked to no one, no one took note of you. All you could see were strange creatures, some more human and some more animal.

Tears went down your face, you could remember being forced to take some pills. Your mother crying while she did the same.

Something was wrong, really wrong.

"And what do we have here?" A stranger voice said taking you by the collar, you ended up meeting with sharp red eyes, and that look....it did not mean well.

"L-let me go" you screamed trying to get free from this thing. Reacting out you saw your hands were now black with claws, making your mind quick you attacked that thing.

It let you go with a small "fuck". You took of running, not knowing where to go, but you could hear that thing behind you chasing you.

Taking a quick look behind you ended against something. Looking up someone wearing a white suit with a cane and a hat that had a snake looked to you.

"P-please help me" you tried again "I dont know whats happening I want my mom"

The stranger took you by your arms to inspect you.

Lucifer stood there with no emotion seeing the "x" on your neck. Suicide? He thought seeing the mark. But you were just a kid, with fluffy cat hears and a tail, however your hair was not the one from a cat but the one from a sheep...or a lamb. Two little horns did also appear on top of your head.

He cursed inside his mind. Maybe you were killed, or forced to something. You were too small, your soul did not let out any type of malice besides the "sin" of taking your own life.

He soon saw a Demon coming towards him, most likely looking for you, and with no debout their intentions were not good.

Just one flick of his hand the Demon was gone. You were shaking looking at him and then around you.

Fuck, he wished Charlie was here, he knew she would be able to calm you down.

Taking care of sinners was not his job. His job was to rule hell, but he could not just leave you in here. He was sure you would be dead again in seconds.

Or worse.

"Calm down Kid, im going to take care of you" his voice was as soft as he could. Turning around opening a gold portal to his home "whats your name?"

He nodded once he hear your name, carefully petting your head. He passed by many old photos of his family. A maid appear besides him looking at the sinner in his arms.

"Please, prepare a bath and get some clothes " Lucifer requested passing you to her.

Or well, trying to.

"N-no, I dont want to go with her!" Your hands took an iron grip on his suit.

Lucifer almost panicked at your state but tried to remember what he used to do when Charlie was this young.

"Listen, she is someone good. You will be taken care off. We can have lunch later, and some sweets"

"...chocolate?" You asked with pleading eyes

~☆~☆~☆~

After your bath and food you were in a better mood. Lucifer used this time to show you around the house while asking you different questions to try and know why you had ended in here.

He showed you his ducks collection and almost passed out by how much you loved them. You ignored him as you played with the duck, almost burning the wall with one of them.

Lucifer decided to tired you up and then look up for your mothers soul. If you two died together...then the chances of her being down here were high.

~☆~☆~☆

It was harder than he expected. The sugar from the chocolate gave you so much energy you ended checking every room of the house. Lucifer behind you trying to stop you from getting hurt or from breaking something.

"Catch me if you can!" You joked while he tried to balance two statues.

With a swing of his wings he was able to catch you, rolling down the stairs and laughtning with you. You seemed....happy almost forgetting your situation. To you this could be nothing but a bizarre dream.

~☆~☆~

Once you were tired enough, Lucifer took you to one room. His heart made a flip when you took his arm pulling him close.

But he needed to go and see where your mother's soul was. So he made the maid stay outside your room just in case you woke up.

~☆~☆~

"That fucking bastard, son of a bitch, cursed slut" Lucifer screamed almost burning his office. Turns out, your mother was not in hell or heaven, she was alive, whatever she was triying to do failed for her.

He wanted to go there and kill her himself. Not only her but heaven as well, you were just a kid. Sure, you had cursed, and lied sometimes, he had read your record of sins. But that was not enough to make you end down here.

He knew your faith was sealed. Heaven would never admit they made a mistake or listen to him for starters. He had to calm down and think.

And after some minutes he decided the safest option would be for you to stay with him. He was not sure how he would explain to you who he was or what had happened. But he knew a few things, besides him no one would try to hurt you, and also you made him feel happy again. He could raise you, be a better father, be someone you could relay on.

"Its decided" he said to himself, picking up a pen and a paper, he wrote down your name and his last name. This way the other sins and overlords would know not to mess with you.

"Dont worry (y/n) im going to protect you.

~☆~☆~

[ayamari-no-goshi]

I’d like to clear up some common misconceptions about the Attack on Titan Tower, aka when Jason infiltrated it to attack Tim

If you want to read this for yourself, here are some links: readallcomics - I have the best luck with this site on destop zipcomic readcomicsonline - this site can be temperamental

1) Jason did not go there to attempt to kill Tim

Jason seems to have 3 separate goals for this: - size up the new kid. - make sure he knows Bruce just sees him as another soldier - prove to Tim just how dangerous the job is (heavily implied, in my opinion, especially after Tim tried telling Jason he was wrong about how Bruce saw him) He also voiced his anger over being forgotten by everyone. Depending on your interpretation of Jason and his character, this could also be a reason. To me, this feels more like an afterthought because they moved to the Hall of Fallen Heroes before he said this, and Jason likes to be dramatic.

Side note on this. Jason never says anything about being replaced.

2) none of Tim’s injuries were life threatening

Once again, Jason was not attempting to kill him. He beat him up pretty badly, but it was designed to prove a point

3) Jason did NOT cut Tim’s throat.

That happened during Hush which predates both Under the Red Hood and Titan’s Tower. Jason was pretending to be Hush, put a knife to Tim’s throat, and put enough pressure to make him bleed (it was not an actual slice) to get Bruce to react to him. That injury was not life threatening either

4) Jason developed a respect and a bit of envy for Tim after fighting him

At the end of the issue while he’s leaving (while outside the tower), Jason acknowledges Tim’s skill. Jason also wonders if he could have had a life more similar to his, where he had friends and a better support system, if he could have had a different life.

5) Tim was NOT a damsel in distress during the fight, and he did NOT develop a fear of Jason.

Tim was making quips and dissing Jason the entire fight. Tim was not afraid of him nor did he bat an eye at being attacked by Jason. He also vocalized just how much he had to work for his cape because of how Jason's death affected Bruce

Also, the next time Tim saw Jason after this, he made sure to kick Jason in the groin

6) Jason wrote "Jason Todd was here" and signed it with a hand print on the wall.

It looks like it could be in blood, but Tim's not injured enough for there to be that much... and blood darkens after a while. There's a bit of time between Tim getting knocked out and the rest of the Titans finding him and the writing so it's probably paint. Again, Jason likes to be dramatic

7) more Robin!Jason slander by Raven

Once again, we get the mention that Jason was "aggressive". I swear, this is the only thing writers remember from Death in the Family and not the point that that behavior was out of the ordinary for Jason. This is a personal pet peeve of mine in the comics.

8) almost forgot to add the most important part, Jason made a homemade Robin costume and wore it under his Red Hood outfit because he could

Again, Jason is a dramatic bitch.

[thewriteadviceforwriters]

Creating Compelling Character Arcs: A Guide for Fiction Writers

As writers, one of our most important jobs is to craft characters that feel fully realized and three-dimensional. Great characters aren't just names on a page — they're complex beings with arcs that take them on profound journeys of change and growth. A compelling character arc can make the difference between a forgettable story and one that sticks with readers long after they've turned the final page.

Today, I'm going to walk you through the art of crafting character arcs that are as rich and multi-layered as the people you encounter in real life. Whether you're a first-time novelist or a seasoned storyteller, this guide will give you the tools to create character journeys that are equal parts meaningful and unforgettable.

What Is a Character Arc?

Before we go any further, let's make sure we're all on the same page about what a character arc actually is. In the most basic sense, a character arc refers to the internal journey a character undergoes over the course of a story. It's the path they travel, the obstacles they face, and the ways in which their beliefs, mindsets, and core selves evolve through the events of the narrative.

A character arc isn't just about what happens to a character on the outside. Sure, external conflict and plot developments play a major role — but the real meat of a character arc lies in how those external forces shape the character's internal landscape. Do their ideals get shattered? Is their worldview permanently altered? Do they have to confront harsh truths about themselves in order to grow?

The most resonant character arcs dig deep into these universal human experiences of struggle, self-discovery, and change. They mirror the journeys we all go through in our own lives, making characters feel powerfully relatable even in the most imaginative settings.

The Anatomy of an Effective Character Arc

Now that we understand what character arcs are, how do we actually construct one that feels authentic and impactful? Let's break down the key components:

The Inciting Incident

Every great character arc begins with a spark — something that disrupts the status quo of the character's life and sets them on an unexpected path. This inciting incident can take countless forms, be it the death of a loved one, a sudden loss of power or status, an epic betrayal, or a long-held dream finally becoming attainable.

Whatever shape it takes, the inciting incident needs to really shake the character's foundations and push them in a direction they wouldn't have gone otherwise. It opens up new struggles, questions, and internal conflicts that they'll have to grapple with over the course of the story.

Lies They Believe

Tied closely to the inciting incident are the core lies or limiting beliefs that have been holding your character back. Perhaps they've internalized society's body image expectations and believe they're unlovable. Maybe they grew up in poverty and are convinced that they'll never be able to escape that cyclical struggle.

Whatever these lies are, they'll inform how your character reacts and responds to the inciting incident. Their ingrained perceptions about themselves and the world will directly color their choices and emotional journeys — and the more visceral and specific these lies feel, the more compelling opportunities for growth your character will have.

The Struggle

With the stage set by the inciting incident and their deeply-held lies exposed, your character will then have to navigate a profound inner struggle that stems from this setup. This is where the real meat of the character arc takes place as they encounter obstacles, crises of faith, moral dilemmas, and other pivotal moments that start to reshape their core sense of self.

Importantly, this struggle shouldn't be a straight line from Point A to Point B. Just like in real life, people tend to take a messy, non-linear path when it comes to overcoming their limiting mindsets. They'll make progress, backslide into old habits, gain new awareness, then repeat the cycle. Mirroring this meandering but ever-deepening evolution is what makes a character arc feel authentic and relatable.

Moments of Truth

As your character wrestles with their internal demons and existential questions, you'll want to include potent Moments of Truth that shake them to their core. These are the climactic instances where they're forced to finally confront the lies they believe head-on. It could be a painful conversation that shatters their perception of someone they trusted. Or perhaps they realize the fatal flaw in their own logic after hitting a point of no return.

These Moments of Truth pack a visceral punch that catalyzes profound realizations within your character. They're the litmus tests where your protagonist either rises to the occasion and starts radically changing their mindset — or they fail, downing further into delusion or avoiding the insights they need to undergo a full transformation.

The Resolution

After enduring the long, tangled journey of their character arc, your protagonist will ideally arrive at a resolution that feels deeply cathartic and well-earned. This is where all of their struggle pays off and we see them evolve into a fundamentally different version of themselves, leaving their old limiting beliefs behind.

A successfully crafted resolution in a character arc shouldn't just arrive out of nowhere — it should feel completely organic based on everything they've experienced over the course of their thematic journey. We should be able to look back and see how all of the challenges they surmounted ultimately reshaped their perspective and led them to this new awakening. And while not every character needs to find total fulfillment, for an arc to feel truly complete, there needs to be a definitive sense that their internal struggle has reached a meaningful culmination.

Tips for Crafting Resonant Character Arcs

I know that was a lot of ground to cover, so let's recap a few key pointers to keep in mind as you start mapping out your own character's trajectories:

Get Specific With Backstory

To build a robust character arc, a deep understanding of your protagonist's backstory and psychology is indispensable. What childhood wounds do they carry? What belief systems were instilled in them from a young age? The more thoroughly you flesh out their history and inner workings, the more natural their arc will feel.

Strive For Nuance

One of the biggest pitfalls to avoid with character arcs is resorting to oversimplified clichés or unrealistic "redemption" stories. People are endlessly complex — your character's evolution should reflect that intricate messiness and nuance to feel grounded. Embrace moral grays, contradictions, and partial awakenings that upend expectations.

Make the External Match the Internal

While a character arc hinges on interior experiences, it's also crucial that the external plot events actively play a role in driving this inner journey. The inciting incident, the obstacles they face, the climactic Moments of Truth — all of these exterior occurrences should serve as narrative engines that force your character to continually reckon with themselves.

Dig Into Your Own Experiences

Finally, the best way to instill true authenticity into your character arcs is to draw deeply from the personal transformations you've gone through yourself. We all carry with us the scars, growth, and shattered illusions of our real-life arcs — use that raw honesty as fertile soil to birth characters whose journeys will resonate on a soulful level.

Happy Writing!

[tritoch]

i know a lot of people (very understandably) dislike the paladin job quests in ffxiv, particularly HW, but i do think it's fun that, now that the pre-ShB MSQ revamp is complete, paladins now have a very cool and thematic in-game storyline that happens without a word being spoken: the development of passage of arms.

none of the below is directly stated in the script, but imo it's a fairly obvious gloss on what the game presents, if you assume a paladin warrior of light. spoilers for all expansions through the end of 6.X.

in the new version of steps of faith, as vishap breaks through each ward protecting ishgard from attack, lucia mounts a final desperate effort to hold him back, with a very familiar looking animation:

but even lucia can't hold back vishap's flame alone, so the temple knights surge forward to assist her. their efforts make the shield visually more powerful and larger. the temple knights here band together in defense of ishgard, and their knightly resolve to protect their home is the difference between victory and defeat.

lucia and the knights do ultimately succeed in defending the last ward, as you have to defeat vishap before their shield falls or you lose.

later in heavensward, obviously, we will get ffxiv's most famous (failed) attempt at blocking something with a shield.

this moment can be read as fairly impactful on the warrior of light's development; as i've noted elsewhere, after the trauma of watching haurchefant bleed out in their arms at level 57, at level 58 paladins learn to channel their magic into healing (and it's called "clemency," or mercy. mercy for whom? who was guilty?), and as someone pointed out on that post, at level 58 dark knights used to get "sole survivor", letting them heal in response to a marked target's death.

for a time, you literally carry haurchefant's shield with you, and 3.3 very much literalizes in genre fashion the idea that even when you are standing alone, your fallen friends stand with you. you don't need to call any allies to stand at your side and raise their shields with you because they are already there, in spirit.

stormblood marks a pretty important turning point in the warrior of light as a combatant, in my opinion, and the text makes this clear in several ways. first, in pretty much all your jobs, you've now far exceeded your trainers and are pioneering new techniques. this is no less true of paladin, which for 60-70 abandons any trainers at all for you to show off your peerless skills in a tournament.

second, stormblood is straight up a story about you getting stronger. at level 61, zenos kicks your ass. at level 70, you kick his ass. why? because you fought and got stronger and developed incredible new techniques and became a one-man army.

for a lot of classes, this story lines up nicely with the big rotation changes or flashy new finishers on the way from 60 to 70. SMN is now busting out bahamut and casting akh morn; RDM gets verflare and verholy; DRG starts harnessing nidhogg's power directly through dragon sight and nastrond.

the tanks are divided in two: warriors and gunbreakers get huge damaging upgrades at 70 in the form of inner release and continuation, each of which lets them hit the same button many times for lots of damage and satisfying animations. paladin and dark knight get more protective abilities; dark knight gets the blackest night, and there's been plenty said about that already by pretty much everyone.

paladins get passage of arms. instead of a relentless new attack (and you get requiescat at 68, which is a way bigger deal for your dps rotation), your big reveal at 70 for zenos in your fight in ala mhigo is a superior way to protect your party, a shield that lets you stand for your allies so they never have to fall for you again. it's lucia's same shield, except you need no allies' shields to reinforce you, proof of your martial prowess and your ability to transcend limits, and perhaps in truth a reminder that you never really stand alone.

in many respects passage of arms should really feel like a paladin signature move to you now if you are playing it at this point, because you should be popping it in pretty much every fight (you are using your mits, right...?). basically every FFXIV fight has at least one big AOE with downtime that warrants passage of arms usage, usually after the mid-fight add phase with slowly filling bar. since that AOE usually drops during downtime, there's no reason not to pop passage of arms (which otherwise restricts your movement and actions), and even on normal, sometimes every little bit counts on a damage check even if it means dropping DPS (thinking here of harrowing hell P10N on release, which was...less consistent for a lot of roulette parties than you might hope).

so from 70 onward, passage of arms is in a sense a paladin warrior of light's signature move, and certainly the one a player gets to most actually enjoy (since if you're using it, you're by necessity not doing anything besides moving your camera and admiring your sick animation). it doesn't have any competition in terms of spectacle until confiteor, and those you're usually throwing out in the middle of movement.

it's such a signature, in fact, that the only other person shown using your one-person version of passage of arms is your greatest admirer, who studied your legend for over a century.

and it's when he fails (should've popped arm's length, bud) that the warrior of light decides they can't let their friends fall for them, and sends them away with the transporter beacon. this is all wrong: you were meant to die for them, not the other way around. yours is the shield that stands between your allies and defeat. it is you who will win this passage of arms and break your opponents lance. and you do.

and then later, when they need to quickly establish zero's domain as a place of fallen grandeur, the home of someone who once believed in heroes but is now a cool and cynical vampire hunter d, what do they use? a decayed statue of someone in the paladin endwalker gear doing the passage of arms animation, of course.

from a visible instantiation of knighthood as a joint effort to defend what is sacred, to a tribute to the fallen friends whose memories stand by you and animate you, to a symbol of the wol's power as emulated by their allies or darkly mirrored in other shards.

not bad for a mit button you hit once per fight and otherwise never think about!

[pollyanna-nana]

Imagine you’re Delgal. Imagine you were raised from birth alongside the court jester. You do everything together. You look up to him, being so much older. He seems wise and responsible, and always encouraging you and caring for you, more than your own busy parents are able to. In every sense of the word, he is your brother, despite how different you look and the distance of your station. The people around you tell you that he is an elf, the tone of their voice implying that’s something scary or even dangerous. But you disagree. That’s Thistle, your big brother.

But… as you age, things become confusing. You get taller, smarter, stronger, and Thistle is there for you through it all. Only… he never seems to change. In your entire journey to adulthood, he hardly seems to have aged a few years, if that. It’s amusing when you first grow taller than him, then grow facial hair, while Thistle’s short stature and youthful face remains the same. Still, you love him, love his music and his wit and even the bold-faced honesty that gets him in trouble if you’re not around to diffuse the situation. You wonder why such a person has been relegated to the inglorious job of jester, and your father tells you very simply that the magic elves wield is too powerful and dangerous to belong to any other position. But you think that’s nonsense, you’ve trusted Thistle from the day you were born and would do so until the day you die.

It isn’t until what should’ve been the happiest day of your life that you truly start to understand just how different Thistle is from you. Kneeling over your father’s cooling corpse, you take in the elf’s panicked face. He’s so young, so unchanged, and in that moment he seems nearly immortal to you. You’ve heard the stories of elf magic, how their spells could be used to heal wounds and raise the dead, but Thistle can’t do any of that. He hasn’t been allowed to. There’s nothing that either of you can do but watch your father slowly die in front of you.

You never want this to happen again, not when there’s something that can stop it. You make Thistle the court sorcerer, even as your advisors warn against it. But you’re the king, goddamn it, and you trust him. But more than that, you want what he can give to you. A power greater than any tallman could achieve. You become busier and busier, only checking up occasionally on his studies. He’s become incredibly proficient in a short amount of time, but your thoughts are elsewhere. Enemies knock on your door, famine chokes the population, and worst of all your beloved son has fallen ill. It’s just like the day of your wedding, but this time, you have something that can defy that fate. Thistle.

But still, it’s not enough. It seems that even elf magic has its limits, and you can’t help but become angry with him. He reacts like a scorned child— is a scorned child, as you’ve come to realize— and you apologize. But he tells you he has something secret to show you, something he’s been searching for, researching for these past few years. The idea unsettles you, but you’ve become desperate, and you can see that he has, too. So you follow him into the dungeon, watch him smash the statue of your kingdom’s guardian and pull the book from the rubble that would decide your and your people’s fate.

Your son is healed, your enemies repelled, and your people fed and taken care of. You’re happy, and so Thistle is, too. You recognize, vaguely, that despite this achievement the familial bonds between the two of you have never been thinner. But you don’t dwell on it. He did what you needed him to do, and now you no longer had to fear the indignity of death or strife.

But of course, things do not remain sweet forever. Thistle has only grown more attached to you, more loyal, and his behavior has become erratic and strange. He keeps you all cooped up in the dungeon, insisting that the outside world is too dangerous. There’s a hardness to his still-youthful features that you never saw throughout all those years growing up alongside him. Slowly but surely the person in your memory is replaced by something frightening, almost repulsive, after he strips your own son’s soul from his body. He seems so unaffected by it all, so… inhuman.

Eventually he decides to give you what you said you wanted all those years ago: to no longer fear death. To become immortal. But it is not what you had hoped for— every day seems to drag into infinity, with joy and mirth seeping rapidly from the unsettled townsfolk as decades, then centuries pass. Thistle has become entirely unapproachable, spending all his time fortifying the dungeon and watching obsessively for any signs of traitors that might challenge the throne. You feel hopeless in it all. No matter how you beg, he never seems to hear you. His power is overwhelming and you fear how he might react to more direct commands. The guilt is intense… you know you pushed him into this, pushed him to find a way to achieve everlasting peace at any cost. But this cost is too much. How could he not see that?

1000 years. 1000 years of this torture, and the population of your kingdom has dwindled to almost nothing. In your dreams you see the vision of a golden lion in chains, its wings pinned as it pleads with you to save it. To save your kingdom, to put the remaining souls to rest. You know what needs to be done, it’s told you the best way. You tell the mad mage that you wish to have dinner together with the whole ‘family’— just like the olden days— and the way his face lights up is almost enough to make you reconsider. Almost.

It was a lie, of course. While he’s distracted you take your son’s empty body, making your way to the surface as fast as your legs can carry you. You know what’s about to happen. You’ll become nothing but dust, but you’ll be free. And with any luck, soon everyone else will be, too. Breaching the surface you get the first rays of sun on your face in a millennium, take your last breaths of fresh air as you tell the story that will free your kingdom.

As you crumble away to nothing, a last thought enters your mind. Perhaps they were all right. Perhaps it was a mistake to trust an elf.

[mikashisus]

PARTNERS IN CRIME!

SYNOPSIS: soul eater au with genshin characters part one!!

PAIRING: kinich, venti, yelan, nilou x gn!reader

warnings: slight angst, mentions of death

notes: yall one of my irls finally got me to watch soul eater and it gave me so many ideas. i literally started the show back in june but i got so busy that i just.. never continued watching it.. 😭 until my friend invited me over to watch some episodes LMAO. there’ll be a part two to this cause i have more ideas with more characters teehee. anyw enjoy!!

KINICH

• the two of you became partners on a whim. your last partner had been tragically killed in battle and you were in the market for a new one. though, you were pretty standoffish towards everyone because you were grieving

• kinich was also looking for a partner around the same time and happened upon you after a meeting with lord death. you looked pretty worse for wear and he offered his shoulder for you to cry on. without thinking, he offered to be your new partner, and you agreed

• training together for the first time was a shit show, and your best friend, mualani, sat there laughing her ass off the entire time. you kept yelling at her to go find her meister and leave you and kinich alone so you could focus

• you had even more trouble adapting because kinich’s weapon form was a greatsword and your last weapon had been a gun. it was a huge change that required you to workout and build up muscle in order to properly wield him

• after a month or so, the two of you were able to finally build up your teamwork and trust. you spent a lot of time together in and out of classes to get to know each other better and form a bond. you easily formed an attachment to him, but he was a bit more reluctant due to his introverted personality

• you were shocked at how close you became in such a short period of time. before you knew it, you were taking on missions again and working on your soul resonance

• due to losing your last partner, you now had an irrational fear of losing kinich, which caused a lot of problems in battle. instead of letting him do his duty and protect his meister, you put yourself between him and the enemy and sacrificed your life to protect him. this habit eventually caused a huge fight between the two of you, with kinich sputtering out a confession

• shocked, you were left to mull over everything until you couldn’t take being away from him any longer and went to apologize. he also apologized for raising his voice, and you had a heart to heart talk that left a confession of your own slipping out

• you asked if he could forgive you, and he said he would, but only if you stopped taking the heat and let him actually do his job. reluctantly, you did, because you couldn’t say no to him when you loved him so much

VENTI

• the two of you had been long time partners, or “partners in crime” as he liked to call it. you were childhood friends turned lovers. he was your loyal weapon, and to him, you were his trusted meister

• you got on like oil and water, but you also couldn’t be more similar. opposites attract, after all. everyone always told you that you two were the most compatible weapon and meister ever. also the strongest… literal power couple

• you were able to collect 99 souls and a witch soul in no time together. together, your strength rivaled gods. venti himself was on par with a god, even if his weapon form was only that of a musical instrument

• on weekends, you spent your time training and venti would watch you from the sidelines, simply admiring you. you’d tell him to join you, which would always result in him asking for kisses in return if he did. every time, you’d say yes, because you just couldn’t say no

• whenever someone asked how you two got together, venti would come up with something different on the spot. once, he said that he was majorly attracted to you while watching you fight with another weapon in battle, and afterwards, went up to you asking to be your weapon instead and you dramatically threw away your last partner to become partners with him

• another time, he said that he dropped his uncle’s glass of wine on you while he was drunk and you ended up taking care of him for the night, which led to him professing his undying love for you. safe to say, no one actually knows the true story

• the true story of how you two got together was actually a bit more tragic. he sacrificed himself for you when you were teenagers. during your battle to collect a witch's soul, venti heroically threw himself in front of you to protect you and he was almost killed. in a fit of rage, you completely obliterated the witch and rushed over to your injured best friend. he played the situation off by making a few jokes, though they did nothing to stop your crying. thinking he was going to die, he confessed to you before you fed him the witch’s soul

• when he came to and was all healed up, you returned his sentiments. from then on, your bond grew stronger and served as an example for younger generations

YELAN

• being yelan’s weapon was rough work. you complained that she overworked you during training and you always seemed to have a quip ready on your tongue during battle

• never a dull moment between the two of you, as you were always the reckless type, and she tried her best to reel you in. after years of working together, your bond was exceptionally strong

• she teaches at DWMA, you think it’s hot

• you have an odd job outside of being a weapon. you work part-time as a tailor’s assistant

• you like to make dresses for her and she absolutely adores them, though she never admits it because she hates (not really) seeing that smug look on your face. it’s okay though, she’ll get you back by kissing you and laugh at your stunned expression

• you spend more time arguing with her than actually helping her fight enemies. she hates it, as she just likes to get things over and done with— especially since she’s an assassin

• your personalities are wildly different, but it makes you two all the more compatible

• at the end of the day, you make a great team and you have a bond that could never be severed. you’d sacrifice your life for her no matter what, even though you had full faith and trust in her that she could handle herself

NILOU

• she was more on the timid side than you. when you first met, your explosive personality made her a bit scared of you. it took a bit of time for her to warm up to you and gain the courage to actually say something

• you were the one who took the first step and approached her first. when you did, you accidentally scared her off, which caused you to sulk for a while. you just thought she was pretty and wanted to say so..

• after talking with her friends, dehya and dunyarzad, she went on a mission to find you and apologize for the way she acted. when she did find you, you were overlooking the city and sat in complete silence. she didn’t want to interrupt, but you already knew she was there

• she apologized profusely (after gaining the courage to sit down beside you) and the two of you talked for a long while. right before she was about to go home, she told you she was looking for a partner and would love for you to be hers. that was what set everything in motion, and you pledged to protect her as best you could

• she was tough for someone who looked very shy. she moved with a grace and elegance that entranced you, and you found yourself wanting to learn how to dance as well as she could. she immediately offered to teach you, and most of the time you spent bonding together was through dance lessons

• in turn, you taught her how to wield a sword better. the close proximity was a bit of a distraction for you both (in both dancing and sword training). soon, you found yourself wishing to be by her side like that forever

notes: shoutout to the stellaronhvnters disc for suggesting the last two characters. baizhu was also suggested, but he gives me the ick, so i didn’t include him LOL 😭 i have a discord server! it’s nice and cozy there, feel free to join! <3

© 2024 mikashisus. do not plagiarize, copy, repost, feed to ai, or translate my works to any other platforms.

[wtfsteveharrington]

love love love your writing, could you do something with luca? maybe reader gets hurt in the kitchen and he has to help her

a/n: thank you so much :’) i went a different kitchen than you meant probably but i hope u like <33

warning!! contains non-graphic mentions of accidental cuts, blood, and a physical injury.

The apartment is peaceful. Candles lit, soft music playing from a playlist you both curate, and it was pretty enough outside to leave the windows cracked open for a breeze.

You’re turning around with a stack of t-shirt’s in your arms, only half paying attention when you feel yourself bump into something that promptly shatters to the ground and disrupts the peaceful environment.

“Shit!” You both echo at the same time from being startled.

Luca’s wrapping a towel around his hand, leaving everything in the kitchen behind as he hunts you down. “Darling? What happened? Are you alright?” He took just enough time to realize that the knife had gotten him when he jumped, acknowledged he was alright, and quickly went to check on you. You’d always come on the top of his priority list.

You’re standing in a pile of glass, a deep set frown on your lips as you look around at mess made by a broken vase. “I’m fine, I’m fine. I was trying to put away our laundry and forgot I moved the vase to the edge of the dresser earlier when we were cleaning. Just caught the corner and it fell.”

Looking up at him with a little pout, “I’m sor-“

You’ve honed in on his towel wrapped hand, the hint of blood soaking through the thin material.

“Are you okay?”

“Oh, yeah. Absolutely fucked my hand.” He gives you some sort of ‘What can you do’ look while shrugging his shoulders. Luca has had his fair share of kitchen incidents and was much more accustom to injuries. It was deep enough to need stitches, just needed to be rinsed and bandaged.

You, however? Very much not used to seeing your boyfriend like this.

A gasp falls from your lips as you rush over to grab his wrist, taking a peek under the towel and wincing. “Luca!” He doesn’t have time to respond before you’re dragging him back into the kitchen to get him taken care of.

You’re standing shoulder to shoulder in front of the sink, trying to fight the urge to panic at the sight of him injured due to a mistake you made. He can see the way your face is all twisted up with concern and he hates it.

“M’alright… Done much worse to myself before. Won’t even leave a scar.” A scar? You frown more as you make sure the cut is clean and step back to go fish out the first aid kit from the bathroom.

“Stay put, please.”

Luca, a man, stands there as he’s told but does admire the sway of your ass as you barrel away. He then gets to admire the swell of your cleavage under your top and - “Shit!” He hissed out as you’re grabbing his hand again to apply a bit of ointment.

“Shoulda paid less attention to my boobs and you would have seen this coming.” You tease while trying so hard to keep the mood as light as you can muster. There was still a course of guilt running through your veins as you continue patching him up.

“I truly am fine, you know? Comes with the job territory. Won’t be the last time I get cut.” He leans in to press a tender kiss to your head and you gravitate towards the touch. You know it’s not a life or death situation but between being embarrassed over both breaking the vase and indirectly injuring Luca you were a little solemn to say the least.

“I know, just hate I caused this.” The bandaid is smoothed over his skin and you give it another once over before bringing it to your lips, kissing over the bandaid. Luca allows you to continue fretting over the injury for a moment until he’s moving his hand to cup your jaw and make look up at him.

“It was an accident, no?” You both nod. “Exactly… I’m fine, you’re fine, we’re both fine. Don’t want you beating yourself up over this.”

You take a deep breath and allow his words to sink in for a moment before nodding once again. Eyes flickering up to his before you lean in and press a tender kiss to his lips. “M’sorry you got hurt…” Another kiss. “Was kinda hot how well you handled it though.”

Luca laughs against your mouth, a wide grin on his features as he feels your anxiety finally start to settle. He steals one more kiss before stepping back to acknowledge the state of the kitchen, giving your waist a squeeze before he goes.

He glances over the cutting board that was the culprit of injury and the food that started to burn while he was tended to. Shrugging his shoulders, turning to smirk at you with pure love and devotion in his eyes.

“Fuck it, let’s go have a date night out instead.”

A hand claps against the flesh of your ass as he passes you to go get changed.

[atlabeth]

dance until we're bones

pairing: aaron hotchner x fem reader

summary: you and hotch both confront a lifetime of things left unsaid when a case forces your past into the light.

a/n: so i started this. two years ago. got 1k in and left it, came back now for some reason, wrote like a freak until it was done. lol. this is quite heavy and different than most things i usually write and it is SO much longer than expected but im very proud of it 🫶 i didn't really pay attention to the canon timeline so just know that reader and hotch were in their early and late 20s in law school (90s) and early and late 30s in present day (early 2000s). title from i lied by lord huron and allison ponthier

wc: 17.2k

warning(s): a lot of angst. typical bau case stuff, murder (familicide), implied/referenced past child abuse, reader and hotch go at it basically the whole time, character death, kidnapping, slight mention of drugging, injuries, mentions of blood. i wouldn’t say a happy ending but a hopeful one

Hotch can barely stay awake. 

He got the call thirty minutes to 4 a.m, and if he hadn’t already been up, he would likely be in a much worse mood. He can only hope that the rest of the team has gotten used to rude awakenings at this point. 

It’s poor planning on his part—he already got out late due to extra paperwork, and once he got home, he found himself staring at the wall, and then staring at the ceiling. If he’s lucky, he’ll get to sleep on the jet. If things go the way they usually do, he won’t be out until their first night in a hotel. 

He started making calls to the team on his way to the office, but to no one’s surprise, he was the first one there. He had time to wash down a shitty office coffee and get started on a second one by the time everyone’s there. 

Morgan, Prentiss, and JJ all have coffees—JJ comes prepared with her own thermos, but Morgan and Prentiss fall victim to the BAU’s supply—Reid is fighting back yawns as he tries to fix a hastily made tie, Garcia is slightly less energetic than normal as she passes out files, and somehow Rossi looks the same as always. 

Hotch just hopes he’s put together enough to make the team feel better about being here at an ungodly hour. 

“Welcome, welcome, welcome,” Garcia greets, setting down the last folder in front of Reid before taking her spot next to Hotch at the front. “As lovely as it is to see all of you this morning, I’m afraid that we’ve got a grisly one on our hands, hence the hour.” 

“Great,” Prentiss mutters. “How bad is it?” 

“Three married couples have been murdered in St. Louis, Missouri in the past two months, with the most recent one happening yesterday,” Hotch says, and Garcia grimaces as she clicks onto the pictures. “Mom and dad are killed, but the children are spared.”

“Awful lot of similarities between the parents,” Morgan says dryly as he flips through the folder. “Looks like our killer has some family issues.” 

Reid nods. “The unsub likely stalks these families once they see the similarities. I’m guessing he was abused as a child, seeing as they kill the parents but keep the children alive.”

“Probably has a grudge against his father,” Prentiss remarks. “They make it out the worst every time.”

“There’s no method to the torture,” Morgan says. “It looks like he’s just trying to make it hurt as much as possible.” 

“Our guy probably isn’t trained in anything, then,” Rossi says. 

Reid flips to another page in the file. “Serial killers like to see their victims suffer. If he’s not torturing the mom physically, then he’s likely making her watch.”

“He doesn’t kill children, though,” JJ notes. 

“Maybe he thinks he’s doing them a favor,” Reid says. 

“The unsub sees himself in the kids?” Morgan suggests. “He’s doing what he didn’t get the chance to do.” 

“Whatever it is, we have to keep a tight hold on this,” JJ says. “The press eats this stuff up, and the last thing we need is a terrified city making it harder to do our jobs.”

“Especially with families being killed,” Morgan murmurs. 

JJ sighs. “I’ll draft something on the jet and make some calls when we land.” 

Hotch nods and he closes his file. “Wheels up in thirty. I hope you’re all ready for a long day.” 

-

The jet is silent the entire way to Missouri, full of sleeping agents trying to delay the inevitable—save for JJ scribbling down notes on a legal pad for the first thirty minutes, but even she knocks out sooner rather than later. Thankfully, Hotch manages to fit an hour in himself, though it doesn’t do very much for him. He spends the rest of the time reading through the case file. 

The team settles in quickly at the city’s precinct, and Hotch takes charge as usual. The uniforms are just as tired as they are, but he makes it work. Soon enough, JJ is off to work with the local liaison to craft a narrative, Reid has situated himself in an empty conference room to get to work analyzing maps with Garcia, and Hotch and the rest go to check out the crime scene. 

It’s brutal—much too brutal for this early, but Hotch forces the emotions out of it and gets to work questioning the present officers. Morgan follows suit, with Prentiss and Rossi going to investigate the rest of the house. 

They don’t learn much from the officers that they don’t already know. This is the most recent crime scene—George and Marsha Springfield, undeserving of such a grisly fate. Their two kids, 8 and 9, were off visiting their grandparents in Nebraska when it happened, and though they avoided the same fate, they’re going to deal with a lifetime of guilt. 

It’s all Hotch can think about as he examines the first body. The six children left to deal with the carnage, about their past and future marred against their control. 

All he can think about is Jack, and the dreary fate that awaits him if his father falls in the field.  

Hotch swallows his doubt and his guilt all in one and forces every thought out of his mind. He has to be unshakable for the team, for what’s left of these families, for a city on the brink of hysterics. 

They’ll find whoever did this. That’s what gets him through it. 

They spent early morning at the crime scene, collecting evidence and gathering information from the officers and trying to make sense of the killer’s motive. Progress is slow, partially because of the hour, but they make enough that Hotch feels comfortable moving onto the next job.

Their four a.m. start time was too early to go knock on doors and get interviews, but now it’s a more normal 10 in the morning. After a quick stop back at the station to share information with Reid, Garcia, and JJ and down a few cups of coffee, they get right back on the road.  

Hotch and Prentiss take one van and Morgan and Rossi take the other, splitting up to get what they can from interviews. It’s difficult working with kids, especially with such recent trauma, so they hold off on it for now, allowing the local uniforms that have been with them for a bit longer to set things up before the BAU tries anything. 

First they go to a neighbor’s house, then an alleged eye witness. They don’t get much other than personality reads, but it at least gives them the beginnings of a profile. The third place they hit is their earliest idea of a suspect. 

“Lucas Hartford,” Prentiss reads off the file one of the local officers had put together. “Thirty-nine, born and raised in St. Charles, Missouri. High school degree, but never got to college because he was in and out of jail.” 

“What has he been charged for?” 

“Booked a few times for public intoxication and convicted three times for assault. Once was for third-degree assault, Missouri’s version of aggravated assault,” she says. “He got out of jail a little less than a year ago, and it looks like he’s been living in St. Louis for some of that.”

“Assault and drinking is a far cry from serial killing, even aggravated,” Hotch says. “What makes him a suspect?”

“Both parents are dead,” she says. “And from the looks of it, it was not a happy home while they were around. He’s got a sister, so it fits the initial theory of trying to replicate his family.”

Hotch lets out a loose breath and nods. “We’ll start there. Try and get a story from this guy, build a profile, see if it matches the one Morgan and Rossi have made for their guy.”

“And hope we pin something down before more bodies show up,” Prentiss murmurs. 

They’re at their destination soon enough, and Hotch parks in an open spot on the other side of the road. His eyes dart around as they walk up to the front door, filing things away in the back of his mind. 

The house number and last name—1432, Hartford—on the mailbox plagued with rotting wood. What there is of a yard is poorly cut, and a small garden of wilted flowers has their own corner, victims of the winter weather. One car is parked slightly crooked in a small driveway—there’s no garage, so at least he’s probably home. Two potted plants sit on either side of the door, thankfully alive. 

“Remember,” Prentiss says as they come to a stop together, “be nice.” 

“I’m plenty nice,” he murmurs, and she huffs the slightest laugh. 

Hotch knocks on the door as Prentiss fishes around for her ID, and thankfully, they don’t wait long. The door cracks open after a few seconds to reveal a woman—certainly not their unsub, but something a whole lot more surprising. 

You.

Your brows furrow at the sight of him, and Hotch has to hold back his shock. 

You don’t live in St. Louis. And your last name certainly isn’t Hartford. 

“Aaron?” you ask in disbelief, and he doesn’t even have to look at Prentiss to know the questions he’s going to get later.

He says your name, able to control his surprise with only the slightest crease of his brows giving it away, then corrects himself just as quickly. “Miss Hartford. My name is SSA Aaron Hotchner, and this is SSA Emily Prentiss. We’re here with the FBI.” 

Your frown deepens as they show their IDs, and you actually take it from Hotch, skeptical eyes scanning over it for much too long. You glance back at him as you hand it back over. “What is the FBI doing here?” 

Emily clears her throat as she puts her credentials away. “We’re here investigating the latest murders in St. Louis. Can we come in?”

“The murders?” you ask with exasperation. “What— what murders? And what do I have to do with them?” 

Aaron notices the way your grip tightens on the door just the slightest bit, and a shred of sympathy strikes him before he speaks up.

“We’ll be able to explain everything if you let us in,” he says. 

You swallow thickly in your throat, your gaze darting back to Aaron before you finally nod. “Okay. Sure. Why not?”

You move and Hotch and Prentiss walk inside, gesturing with a hand towards your living room as you shut and lock the door behind them. “Take a seat. Uh— do you guys need anything? Water, or coffee, or…” 

You trail off, and Prentiss shakes her head. “Thank you, but that’s not needed.” She takes a seat on the sofa, but Hotch can’t stop himself from looking around the house. 

It’s a small place, one story—likely rented, seeing how paintings sit on countertops and mantels rather than hanging on the wall. It has a certain charm to it, but something is off about it all. 

Two styles clash—decorative pillows at odds with a filled and painted-over hole in the wall, an attempt at neutral tones ruined by dark articles of clothing scattered around, one person’s mess barely being held back by another’s cleaning efforts. You lived with someone else. Likely Lucas Hartford, possibly their unsub. 

“Are you gonna sit down, Aaron?” you ask, snapping him out of his profiling haze. “Or do you want to look around some more?” 

“I’m sorry,” he says, clearing his throat as he walks over and sits down in an open chair near Prentiss. “Just curious.” 

“That makes two of us,” you say, and you cross your arms as you look at him. He notices that you don’t sit down yourself, and there’s still a coldness in your eyes. “You’re FBI now?” 

He nods. “I had a change of heart.” 

You huff a laugh. “Thought at least one of us would be a lawyer by now. I guess not.” 

Hotch frowns, but Prentiss takes over before he can continue on that particular thread. “Miss Hartford—”

You interrupt by saying your first name, and it spurns something strange in his chest. It’s been over a decade since he’s heard your voice. “You can skip the formalities.” 

Prentiss nods and repeats your name. “As you know, we’re investigating the murders that have been occuring in the St. Louis area.” 

“And you think I have something to do with it?” you ask, the accusatory edge to your voice not lost on him. 

“Not you,” Hotch says. “Do you know a Lucas Hartford?”

“He’s my brother,” you say, and your frown deepens. “You’re not saying—”

“No,” Prentiss interrupts, “we’re not saying anything. We’re just asking.”

And just like that, your entire stance, your visage, it all changes. Hotch can sense the walls slamming up around you, and he immediately realizes two things: 

Getting information out of you is going to be much harder than planned, and you’re not anywhere near the same person you used to be. 

Hotch doesn’t know what he expects, really. He graduated with the intent to prosecute for at least a decade—now, he’s with the BAU. It’s not fair to assume you’re that same girl he met in law school. 

“My brother is not a murderer,” you state clearly.

“And we aren’t accusing him or you of anything—” she starts. 

“Me?” you interrupt, and you let out a harsh laugh. “I’m a suspect too?”

“If you would allow Agent Prentiss to finish her sentences, you would be less upset,” Hotch says. 

You glower at him, but you stay silent. 

“We aren’t accusing either of you of anything,” Prentiss finishes. “We’re just trying to gather information with what little we know.” 

“I know my rights,” you say, unflinching gaze still meeting Hotch’s. “I don’t have to tell you anything.”

Prentiss looks at him as well, but his eyes don’t leave yours. “That’s unfortunate to hear, Miss Hartford.”

“You know my name, Aaron. Use it.”

He does, and the letters feel strange on his tongue after so long. “This is a serious matter. This isn’t an accusation—we’re in the early days of this case and we need all the information we can get.” 

“Ask away,” you say. “Doesn’t mean I’ll answer.” 

“Lucas Hartford,” Prentiss starts. “He’s your brother?” 

You nod. “He lives with me.” 

He lives with me, not we live together. Makes him think that you pay for the place, he came knocking, and you didn’t have the heart to turn him away. 

“Why is that?” Hotch asks. 

You look at him, those scrutinizing eyes attempting to peer into his soul the same way they did all those years ago. But Hotch has changed since law school, and he’s much better at guarding his emotions. It seems you are, too. 

“He’s a student,” you finally say. “He goes to community college. I’m giving him a place to live while he gets his associate’s.”  

“Community college and living with his younger sister at 39?” Prentiss is trying to get information out of you, even if it isn’t in the kindest way. Your jaw clenches, and he knows her words have some effect. You’ve probably heard it more than once, the way things are going. 

“He’s getting his life back on track,” you say defensively. “I’m the only one left that can help him, so I am.” 

“What about your parents?” she asks. “Surely they’re a better option than this.” 

“Both dead,” you answer. “And no one else cares enough to help him. Are you here to do anything other than dig up my past?” 

Hotch feels Prentiss’s eyes on him, likely because it’s a step in the right direction for a really shitty reason, but he can’t look away from you. 

“Really?” 

He knows your parents are dead—it was in your brother’s profile, and by extension it applies to you—but it still hits him. 

He met your mother, had countless lunches and dinners with her. Helped her move out of her old house. Spent two Thanksgivings and a Christmas with her. 

And he didn’t even know when she died. 

You shrug and wrap your arms around yourself, and for the first time you look something other than defensive or standoffish. You look— well… sad. 

“Mom went a few years after you graduated,” you say, looking at Hotch. “Dad went last year.”

“I’m sorry for your loss,” Prentiss says. 

You nod your thanks, the notion a bit numb. 

“You never told me,” Hotch says with a slight frown.

“We haven’t talked in ten years,” you say. “Sorry that I didn’t know you still wanted updates.” 

Hotch tries to think of something to say in response, but Prentiss starts getting a call and she stands up. “Excuse me.” 

His jaw clenches for a moment as Prentiss ducks into a nearby bedroom, but he’s recovered by the time you look at him again. Your arms are crossed, but your expression is even. 

“I take it this was as much of a surprise for you as it is for me.” 

Hotch nods. “We came here looking for your brother.” 

“Does your team know about our history?” you ask simply.

“No.” 

“Do you want them to?” 

“…No.” 

You huff a laugh, your eyes narrowing a bit. “‘Course not. Probably counts as conflict of interest.” 

You wait another beat, then ask another question. “How’s Haley?”

“Good, last I heard,” he says, and then he hesitates. “We’re… divorced.”

Your eyebrows shoot up. “Really?”

He nods. “This job isn’t easy for anyone.”

You look like you want to say more, but once again, Hotch is saved by Prentiss as she walks back in. Her phone is closed in her hand and she looks at him. “Morgan and Rossi have a lead. The chief wants everyone back at the precinct to go over everything we’ve found.” 

Hotch nods again and stands up. Prentiss takes her card out of her pocket and holds it out to you. 

“Thank you for your time, Miss Hartford. If you find out any information, or want to tell us anything else, please give me a call.” 

“Pass that along to your brother, too,” Hotch says. 

You reluctantly take the card, but you don’t look at it. “You can see yourselves out.” 

Prentiss nods. “Thank you again. Have a good day, and stay safe.” 

She leads the way, and Hotch follows after her. He fights the urge to look back before he shuts the door. 

Prentiss looks at him as they walk back to the car, and he can only imagine what is going through her mind. But eventually she just shrugs and pulls out her phone again. 

“Garcia?” Prentiss asks after she picks up. 

“You’ve reached the office of all that is holy.” Penelope’s voice comes out through the speaker, and Hotch can’t help the smallest twitch of his lips. “What’s up?” 

“Dig up everything you can find on Lucas Hartford,” Emily says, and her glance at Hotch does not go unnoticed. “And throw in his sister, too. He’s one of our only suspects, and we need to know if she’s in on it.” 

“On it,” Garcia says. “I’ll call you back when I’m done.” 

“You’re the best,” she says, and then she hangs up. They get back to the car, and it only takes Prentiss all of five seconds after they get in for her to start drilling him.

“Alright,” she says, buckling her seatbelt with a click before she sets her attention on him. “What was that back there? You two know each other?”

Hotch busies himself with his own seatbelt and starting the car, answering as casually as possible as the engine revs to life. “We were friends in law school.”

“Sure,” Prentiss nods. “The way you were around her, that’s not just ‘law school friend’ stuff.”

Hotch is once again reminded of how, sometimes, it was a downfall to constantly be around profilers. It was nearly impossible to keep anything a secret. 

“It’s nothing,” he says as he pulls back onto the road. “We knew each other, we fell apart, we’re here now.”

Emily hums. “Is it too far to ask if you were together?”

“Yes,” he says sternly, maybe a bit too hasty. “It is.”

“Fine,” she says breezily, and she looks out the window. “But that tension was thick.” 

Hotch knows what she’s thinking. Hasn’t he been with Haley since high school, what kind of history did you and him have, were you together, would he be okay to work this case— 

He doesn’t really want to answer any of them. You were a part of his past he hadn’t expected to resurface any time soon—if Hotch is being honest, he didn’t know if he would ever see you again once he graduated. Not after the way he broke things off.  

You’ve changed a lot. So has he. 

And now your brother is a murder suspect, and you could be covering up for him. 

That’s the only thing that should be on his mind. 

-

“For the last time,” you huff as you storm down the stairs, “I don’t want to deal with this.” 

“Because you know that Mia is a lying bitch!” Cleo exclaims, following after you. “I’m sick of you stealing my clothes!”

“I’m not stealing your clothes,” Mia scoffs in your wake, just behind Cleo. “They’re too ugly for me to want anyways. I bet I wouldn’t even fit into them.”

“You are! And you’re stealing my fucking jewelry, too!” she yells. “All of my shit is going missing, and I know it’s not Little Miss Law School, so it’s got to be you!” 

Mia draws out a mirthless laugh. “You are not accusing me of this.” 

“I don’t have anyone else to accuse!” Cleo shouts. 

They both look at you, and Mia says your name. “You have to settle this before I kill her.”

“Oh, I’ll kill you first!” she hisses. “At least I’ll get all my stuff back!”

You clench your jaw as your nails dig into your palms, and you’re about to bite back when the doorbell rings. You don’t even try to hide your sigh of relief. 

“That’s Aaron,” you say as you grab your coat and your bag from the table. “I’m leaving. If you kill each other, don’t get blood on the furniture.”

You don’t give them a chance to say anything before you rush to the door, open it, and shut it behind you. 

“You have no idea how happy I am to see you,” you breathe. 

“What’s going on in there?” Aaron asks, amused. 

“My roommates are fighting again.” You roll your eyes. “It doesn’t matter. You’re much more interesting.”

“You know this is a study date,” he says wryly, and you cut him off with a kiss. 

“Still a date,” you murmur against his lips. “And something seriously needed.”

Aaron chuckles as he wraps an arm around you, pulling you into his side, and the two of you walk to his car. “You’ve gotta get out of this house, honey.”

“I know,” you grumble. “But I can’t afford a place on my own.”

“Doesn’t have to be on your own,” he says as he opens the door for you. “It just has to be away from the girls that are making you miserable.”

“The lease ends at the end of the semester,” you sigh. “Just have to make it until then.”

“You know,” Aaron boxes you in against the car when you lean against the side of it, smiling softly at you, “I do live alone.”

“Oh yeah?” You ruffle his hair with your fingers and grin. “What are you proposing?”

He shrugs, letting his hands linger on your waist. “Just that you hate your roommates, and you don’t hate me. You could spend your time somewhere else.” 

“Careful,” you warn. “You keep saying things like that and we might not make it to the library.” 

“You keep saying things like that, and I might not mind,” Aaron muses. 

You grin as he leans in and kisses you again, once, twice, three times as your back hits the side of his car and you card your hands through his hair. Mia and Cleo are probably killing each other inside, but you don’t really care at this point. They’ve made your life hell for a semester and a half—they can bother each other for once. 

“Aaron,” you whisper against his lips, and he gets one more in between words, “I’ve got a test on Tuesday.”

“And today’s Sunday.” He nips at your neck and you laugh, your eyes falling shut as you lean your head back. “You’ll be fine, honey.”

“You have one on Monday,” you remind him, and he sighs. You feel his hot breath against your neck. 

“Ruining our fun in the name of schoolwork,” he says. “No wonder all your professors love you.”

“Everyone loves me,” you correct. “Including you.”

You steal one more kiss before you open your door yourself and get in, and Aaron lets out a breathy laugh.

“You’ve got that right.”

He closes your door then gets in the other side, and you’re already rifling through the glove box full of cassettes. You pull out the mixtape you made for him for your six month anniversary and pop it into the player, and Aaron smiles as the first few notes of Stairway to Heaven come on. 

“You’re a threat to my grades, y’know.”

“Maybe it’s all part of my plan,” you say. “Distract you with kisses to make sure I’m a shoe-in for this fellowship.”

“A dastardly plan,” he says with mock austerity. 

“I’ve been told I have to be more of a shark,” you muse. “Consider this me taking down my competition.”

Aaron laughs, and you find yourself smiling just at the sound of it. You love the way his eyes crinkle at the corners, how they soften just so, how he acts like himself around you, and not some perfected or stoic image that he thinks he needs. 

Falling in love with Aaron Hotchner has been the easiest thing in the world. 

“Don’t let anyone know,” he says, and he reaches over to intertwine your fingers together. “But I’ll happily fall to you every time.”

“As long as you don’t tell everyone how whipped I am for you,” you tease.

“Looks like we’ve both got reputations to keep up.”

“Looks like it.”

You share a smile, yours just on the edge of a grin as you try to bite it back. You hold hands the rest of the way, just soaking in each other’s presence with songs from bands you introduced to each other floating through the air. 

(It is a goddamn struggle to get any work done at the library with that face across from you the whole time.)

- 

You had sky-high aspirations when you were younger. 

Ones that would make your teachers offer a smile and tell you to shoot a little lower, that would make your friends’ eyes widen, that your father would scoff at and your mother would humor you on just to get you to move past it. 

You didn’t listen. You’ve wanted to be a lawyer since you went on a class field trip to a courthouse in elementary school and saw all the attorneys hustling about, dressed to the nines, making last-minute deals outside the courtroom.  

They were just… so confident. So smart, so stoic, always knowing the answer to everything. The good ones had money, sure, but more importantly they had the power to change lives for the better. And as a kid that had to cover up bruises before the school day, nothing sounded more appealing. 

All you’ve ever wanted to do is help people. 

And as you sit in a cold, empty interrogation room, you can’t help but wonder where the hell you went wrong. 

You don’t want to be here, obviously. But you know the FBI won’t stop bugging you until you give them answers—you know Aaron Hotchner won’t stop bugging you. 

Because god— what are the odds? 

What are the fucking odds of your ex-boyfriend from a decade ago showing up at your door with a badge and an attempted case against your brother? 

It’s ridiculous, and it’s such bad luck that you think it could only happen to you. You’ve thought about Aaron Hotchner more than you’d like to admit over the years, especially when you found your old GW crewnecks, and the box of school supplies you used for a decade, and those photo albums from what should’ve been your golden years. 

It’s not like any of it matters, though. You only agreed to come in and talk because you want them off your back and you don’t want them poking around your house. You saw it in Aaron’s eyes—he was profiling you and your place the entire time. 

If the cops want to invade your privacy even further, they can get a goddamn warrant. 

Your thoughts are interrupted when the door opens, and you hold back a mirthless laugh, because of course it’s Aaron. He greets you with your name, and he has a file in his hands. You wonder if it’s on you or your brother. “Thank you for taking the time out of your day to come in and talk with us.”

“Well, you seem to think my brother is a murderer.” You cross your arms as you sit back. “I’m not really gonna let that stand.”

“I’m surprised you haven’t asked for a lawyer,” he says as he sits down across from you. 

“I don’t plan to be here for very long,” you respond tartly. “But don’t worry—that can always change. I know my rights.” 

“I’m the last person you need to tell that to.” Hotch sets the file down and looks right at you. Though he’s obviously older—more grizzled, more hardened; harsher, sharper lines that define his face; lips set in a taut, unflinching line—you still see that young man from law school. The passion, the care he puts into everything, the penchant for striped ties. 

You wonder what he sees when he looks at you. 

“Your last name wasn’t Hartford when I met you,” he says. “Why is it now?” 

“Not one for small talk,” you remark. 

“I never have been.” 

“I remember.” You hold his gaze. “It’s my mom’s maiden name. I changed it to put some distance between me and everything else.” 

You can practically see the gears of his brain working, neural pathways branching off with every word you say to make sense of it and reason a thousand different meanings from it. Aaron’s always been like that, but it’s tenfold now. 

You suppose one has to be like that, to try and get anywhere with the types of criminals they face. 

“How long have you been living in St. Louis?”

“Seven years. I’ve had that house for three.” 

“Rent or own?”

“Rent,” you scoff. “I don’t make enough for a down payment, and I don’t want a place tying me down.”

“What inspired the move?”

“Close enough to home to be familiar, far enough to not be.” 

“And home is?” 

“St. Charles,” you say, and you purse your lips. “Shouldn’t you already know all this?” You nod at the file in front of him. “It’s either on me or my brother, and we share a lot of the same info.” 

“We prefer to get our information from the source,” he says. 

“Sources can lie.” 

Aaron doesn’t waver. “And we can charge you with obstruction if it harms our investigation.” 

Your lips twitch for a moment, not entirely without heart. “Ask your questions, Aaron.” 

He opens the folder and slides the first picture over to you—your brother’s first mugshot, taken when he was only twenty-one. You still remember riding your bike to the station in the sweltering August heat to drop off his bail and pick him up. 

You had to catch the bus home together, you had to pay his fare, and his bail drained everything you’d been saving from your waitress job. But your dad refused to pay it, and you refused to be alone in that house any longer than you already had. 

You swallow the memory. It still tastes as sour as the day it happened. 

“Lucas Hartford is our main suspect,” he says. “He matches our initial profile—in and out of jail since his twenties, his parents are dead and he has an unstable home life, and he’s got a sister.”   

“None of those sound like questions,” you say. 

“Where is your brother?” he asks firmly. He’s given you a bit of leniency, but you can tell he’s getting tired of you. Some things never change, you think to yourself bitterly. 

“I don’t know,” you admit. 

“You don’t know,” he repeats. 

“I let him stay with me, and my only requirement is that he goes to his community college classes and stays out of jail,” you say. “He’s done both, so I stay out of his business.”

“And you’re telling me you haven’t questioned it?”

“I called him the other day after you left,” you say. “He didn’t pick up, and I didn’t get a call back until the next night.” 

Aaron’s eyes sharpen. “What did you say to him?” 

“I called to see where he was,” you say evenly. “I think you all are wrong, but I wanted to make sure he was okay.” 

“You didn’t tell him—” 

“No,” you interrupt, “I didn’t tell him about your investigation. If I think you’re wrong, why would I need to let him know?” 

He still has that look in his eyes, and you know you’re getting on his nerves with the constant interrupting, the constant backtalk. But he probably deals with much, much worse. 

“Good,” he nods. “You could be putting lives in danger if you do—including yours.” 

“Please,” you scoff. “He won’t hurt me. He never has.” 

“Why do you let him stay with you?” Aaron asks. “You’re straight-edge, he’s a borderline alcoholic that’s been in and out of jail for years. You’ve got a law degree, he never made it past high school. You’ve got your life together, his is falling apart.” 

“That’s why I do it,” you say. “Our parents are dead. I’m all he has left, and he’s all I have left. I want him to get better, so I’m trying my best to help him get there. How can Luke put his life back together if he’s got no support?” 

“That’s an awful lot of faith to put in someone who hasn’t earned it.” 

“I’ve gotten good at that over the years,” you reply. 

Aaron stares at you, and you stare back. You let the moment linger. You hope it stings, even fleetingly. 

“And you’re wrong, by the way.” 

“About what?” he asks. Again, unshaken. 

“I don’t have a law degree,” you say. “I dropped out.” 

And for some reason, that is what gets him. He frowns, and you wonder what it means that this is the most unexpected thing he’s gotten out of you. 

“Why? You were only a year out. You had stellar grades.” 

“My mom got cancer,” you say. “Luke was serving his second stint, Dad fucked off to some corner of the country to drink himself to death a couple months before. I was the only one left to take care of her, and I couldn’t do that from DC.” 

“I had no idea.” This is the first time he looks taken aback since you’ve met him again. “And she’s—”

“Dead,” you supply without waiting for an answer. You know he already knows it, but it still seems to have some effect on him. “Went a couple months after I was meant to graduate.” 

“…I’m sorry for your loss,” he says. He’s just repeating what his agent said at your house, but it feels genuine, at least. 

“It’s been a decade,” you say. “I’m just sorry it was her instead of my dad.” 

Aaron’s brows knit together again, and less work goes into covering it up this time. “You seem to have something against your father.” 

You huff a mirthless laugh. “Excellent profiling.” 

“Child abuse is common for serial killers,” Aaron says. “We find it’s typically the root of their problems later in life, or plays a part in their MO.” 

You stare at him again. This isn’t just an interrogation with Supervisory Special Agent Aaron Hotchner—it’s revealing parts of your past that you never told your ex-boyfriend Aaron. 

“Yeah,” you finally say. “Our dad beat us. Is that what you wanted to hear?” 

“You know th—” 

Aaron cuts himself off before he can finish whatever he wants to say, and he lets out a short sigh with a nod. “It’s valuable information for the profile.” 

The room feels a lot colder all of a sudden. “Sure.” 

He still looks like he wants to say more, but he bites his tongue as he takes the picture back and closes the file. 

“I’ll be back,” he says. “Would you like anything? Water?”

You shake your head and remain silent. He takes the folder and stands up, and you watch him the entire way to the door. Just before he can open it, you find words escaping without you thinking. 

“Look, Aaron,” you blurt out. He pauses, and he turns to look at you. “I know this is your thing, and this is your investigation, but I’m telling you—my brother and I don’t play any part in it.” 

“The profile—” 

“I don’t care what your profile says,” you interrupt. “He didn’t do it. He couldn’t have done it.” 

“He’s rough around the edges, I know. In and out of jail isn’t good for anyone.” You hold onto the edge of the table as you continue rambling, needing something to do with your hands. “But he’s working to get better, and he is not the kind of person to do something like this. If you believe anything I say, believe that.” 

“I suppose we’ll find out,” he says evenly. 

He leaves the room, and your hands fall into your lap as your nails dig into your palms. You don’t mean to be desperate, but you feel it. You’ve been defending Lucas at every chance, but you’re terrified of being wrong. You’re terrified that Aaron might be right—that he might be behind all of this. 

For his sake—and your sake, honestly, because you think you deserve to be selfish when he’s all you have left—you hope you’re right. 

You have to be right. 

The room feels even colder. 

Your stare drifts to the one-way mirror, where you know his team is watching. You saw the way Agent Prentiss watched Aaron when they came to your house—he said he doesn’t want them to know, but you think they already do. 

You wonder the kind of things they’ve come up with about you and him. 

-

Morgan whistles when Hotch walks out of the interrogation room. 

“She does not like you.” 

“Did you gather anything else?” he asks placidly. He sets your brother’s file down so he can fix his tie. 

“Abusive dad, dead parents, criminal background,” he says. “Lucas is looking like a stronger suspect. Oh— and she really doesn’t like you.” 

“If you don’t want to go back to building a file on your suspect, move on,” Hotch demands. 

Morgan shrugs, clearly unfazed, but he keeps his mouth shut. Reid, meanwhile, is still staring through the glass at you. You haven’t exactly relaxed, but you’re not as tense as you were while talking to Hotch. You pick at a loose strand of thread on your sweater, and when you pull it out, you let it fall to the floor. 

“Her brother feels like a prime suspect,” Reid murmurs. “I feel like I could just figure it all out if I could talk to him.” 

“I told Penelope to keep an eye on him,” Prentiss contributes. “She’s tracking his cards, the car registered in his name, even called the person in charge of the AA meetings he goes to to keep an eye out—everything. We’ll know if she gets anything.”

“Serial killers want to see the damage they’ve done,” Reid says. “Things are falling apart here—the whole city is terrified. He’s gotta be in St. Louis still.” 

“You’re sure that he’s still in the running.” Hotch glances back at you, and he knows he has to at least ask, for your sake. He doesn’t want to put you through anything more than he has to—not after what you’ve told him. 

And Hotch knows your past is your business—he just can’t believe you never told him. 

He’s turned over your relationship in his head just as many times in these past few days as he did the months after he ended things. 

“I’m sure, sir,” Reid says. “I’ve read over both their files, and Lucas matches with our preliminary profile. His stressor could have been his father dying.”

Morgan frowns. “Explain.”

“Family annihilators typically go after their own family for a myriad of reasons,” he says. “Paranoia, to cover up their lies, to free themselves from what they see as oppression, sometimes just pure jealousy.”

“He’s killing the parents but leaving the children alive,” Hotch says. “Sounds like a liberator to me.”

“That’s what I think,” Reid nods. “If Lucas has been banking on killing his father for that attempt at freedom, and then lost the chance?” He shrugs. “That could be why he started going for other families.” 

“Other fathers to take his place,” Morgan realizes, and he nods again. 

“You should talk to her, Spence,” Prentiss says. “You’ve got a handle on the profile, and you’re pretty good at conveying info. She seems like a reasonable person—just can’t accept her brother doing something like this.” 

“It’s typical for someone to deny their family member’s involvement,” Reid says. “No one wants to think their sibling is a murderer.” 

“If you lay it all out for her like that, with facts and the profile, I think she’ll listen.” Prentiss looks at Hotch. “She’s too closed off with you.”

“That’s how she is,” Hotch claims.

“Maybe,” she shrugs, “but it’s much easier to hate you than it is to hate Reid.” 

Hotch glares at her, and Reid clears his throat to insert himself back into the conversation. 

“I’d be happy to talk to her,” he says. “I know what it’s like to be in this kind of position—I can put her at ease, sympathize with her.” 

They all look at Hotch, and he wants to say no. He wants to be the one to get this out of you—some part of him wants as much time with you as possible. But he decides to swallow his ego. 

“Fine.” He nods, and he hands the folder to Reid. “I trust you to handle it.” 

Reid nods too, far too many times, and he takes the file. “Thank you. Uh— sir. I appreciate your trust.” 

“Yeah, yeah,” he says, but it has no bite to it, and Reid walks inside. 

He says your name and sits down across from you. “I’m Spencer Reid. I know we’ve already said it, but thank you for talking to us. It may not seem like it, but it goes a long way towards figuring out this case.”

You nod. You already seem more at ease than you were with him, and it makes Hotch… 

Not jealous, because that would be insane. But it makes him upset that he doesn’t understand you the way he used to—that he doesn’t hold that key to you anymore. God, it feels like he doesn’t know you anymore. 

Hotch doesn’t get why a side of his brain still thinks this way about you. 

“They sent a new one in,” you say. 

“You looked like you needed a break from Hotch,” Reid says. “Don’t worry. We all do sometimes.”

You huff a slight laugh and your posture eases, your expression softens just so. Reid was right, as usual. 

“I can imagine.”

He starts talking to you about the case, laying out all the facts, and though you don’t look happy, you don’t cut him off like you cut Hotch off. 

“She’s pretty,” Morgan offers, glancing at Hotch. “And stubborn. I see why you like her.” 

“Shut up, Morgan,” Hotch mutters.

He chuckles and holds his hands up, and focuses back on the interrogation. 

The rest of it passes in silence, save for the occasional input from Prentiss or Morgan to elaborate on a point. You talk much more with Reid than you did with Hotch, and you don’t stare daggers at him the entire time. 

Time doesn’t always heal all wounds, he thinks. 

When Reid is finishing up inside with you, Morgan glances back at Hotch. “You think she’s part of this?”

He shakes his head. “No. She has no reason to kill, nothing to gain. She talks about her past too plainly—it hurt her, obviously, but it hasn’t taken over her life.”

“What about her brother?” Prentiss asks. 

“The more we learn, the more I suspect him,” Morgan says. 

She nods in agreement. “We just have to find him.”

Hotch isn’t sure yet. 

But for your sake, he hopes his gut feeling is wrong. 

-

Spring has finally sprung in DC, and you couldn’t be happier. 

It’s hard to feel down on your walks to class when the birds are singing and the sun is beaming down on you, when you see students sitting on blankets reading and talking and actually enjoying life for once. 

You’re two years into law school, and it feels like you’ve spent 90% of your time studying in either the library or your room. A bit of a sad existence, but it’s made better with Aaron. 

You’re laying down on a blanket—one you crocheted yourself in undergrad—resting your head on Aaron’s chest as he reads a book, the spring sun shining down on you. It feels like the first moment of relaxation either of you have had since classes started, and you chose to spend it together in the University Yard. 

You should probably be studying or doing some kind of homework, but you don’t care. It has been too damn long since you’ve gotten to just sit around and exist with Aaron, and you’ve got at least a couple days until your next quiz. That’s far enough away for you. 

It’s been a rough semester for both of you, between classes and endless homework, between your internship and your endless family issues—Luke is two years in, and his parole was denied, and your dad still insists on being the reason you stay on campus year-round. 

You don’t think you’re pushing it when you say Aaron’s support has been the only reason you’ve gotten through it, your grades—and your mental state—relatively unscathed. 

Aaron says your name, and you hum. 

“Are you listening?” he asks. 

“Of course,” you say. 

“Your eyes are closed.” 

“I don’t need my eyes to listen,” you say wryly. “What’s up?” 

You feel him tense for a moment, feel him adjust his position slightly. 

“I got a call from Haley,” he says carefully. 

Your eyes open and you frown. 

You know the name, but only in the way that you talked a bit about your past relationships while you were still getting to know each other. She was his high school girlfriend, and it was a big deal then, but they broke up before college because they both wanted different things.

It shouldn’t be a big deal now. But he’s treating it like one, and that makes you hesitate. 

“Yeah? What’d she want?”

“…She’s in DC for the weekend,” he says. “Some conference for school. She asked if we could grab a coffee or something and catch up.”

You finally sit up, his hands falling from where he’d been playing with your hair, and you look at him.

“Your high school girlfriend wants to catch up.”

“An old friend wants to catch up,” he corrects. “I haven’t really talked to her since we graduated high school.” 

“…Okay,” you say slowly. “Do you want to see her?” 

He shrugs. “I thought it would be nice.”

“Do you think she thinks it’ll be more than nice?” you ask. 

“I don’t know,” he admits. “I don’t even know how she got my landline. I think my mom might have given it to her.” 

Your eyebrows rise. “Your mom gave your ex-girlfriend your number?” 

“It’s the only way I can think of her getting it,” Aaron shrugs. “Like I said, I haven’t talked to her since graduation.” 

You chew on the inside of your cheek, trying to think as you look at Aaron. 

You’ve met his mom a dozen times. You’re insistent that she doesn’t like you, despite Aaron’s assertions towards the opposite—it wouldn’t surprise you if she gave this girl his new number in an effort to push him in a new direction. 

But that train of thought feels a little crazy. You’re confident in your relationship with Aaron—you love him, and he loves you. God, he made an off-handed comment about marriage the other day. You’re not threatened by a girl from his past wanting to catch up. 

“Go for it,” you finally say. 

He frowns, like he was expecting the worst. “Really?” 

“I trust you, Aaron,” you say. “You say she’s just a friend, I believe it.” 

You lean forward to kiss him, your eyes fluttering shut, and it lasts much longer than it should. When you pull away, Aaron’s smiling softly at you. 

“Thank you,” he says. 

“‘Course,” you say, tipping a shoulder. “I’m known to be rational from time to time.” 

He chuckles, and you smile as you lay back down on his chest. Soon after, you feel the weight of his hand on your shoulder. 

“I love you,” he says. It feels more like a reminder than anything. 

You entangle your fingers together and press a kiss to the back of his hand. 

Sometimes you need reminders. 

“I love you too.” 

-

“Four more bodies,” Prentiss mutters. “God.” 

“You can say that again,” Morgan murmurs. 

Hotch is silent as he examines the father’s body. They’ve been so busy the past few days trying to nail down the profile, both on their unsub and geographically, that this happening again hadn’t been at the top of their list. There was a month between the first two, and two weeks between the second and third. 

No one expected this to happen so soon. 

The entire family was killed this time, and once again, the parents look similar to the other victims. It’s the work of their unsub, no doubt. 

Hotch and the team had already been at the precinct for an hour going over all the information they’d found when they got the call at 8 in the morning, the bodies discovered by the family’s maid when she arrived for work. 

An entire family, parents and children, senselessly slaughtered for one man’s deranged quest for liberation. 

Hotch has been in this business for a long time, seen things that most people only imagine in nightmares, and he still has to take a step back when children are involved. 

He sees Jack in every single one. He can’t help it. 

Hotch took Prentiss and Morgan with him to the crime scene—JJ has a kid, Rossi had a kid, and he just didn’t want Reid to see it. They’ll all be more valuable working together back there anyways, and it’s imperative that JJ controls the narrative before this can break to the press. 

Again, Prentiss talks to the officers at the scene and Morgan helps him examine the bodies. After all, there are double the amount. 

“It just doesn’t make sense,” Morgan says as he stands back up. “Our guy is killing surrogate parents to get back at his own, fine. Dad was tortured again, mom was killed with a bullet. But bringing the kids into it isn’t his thing.” 

He uses a gloved hand to gingerly lift the father’s arm away from his body so he can examine the underarm. “Look at this. He’s been stabbed at least ten times, and his arm’s nearly severed from his body.”

“And his neck,” Morgan mutters. “He’s half decapitated.” 

Hotch sets the arm back down. “The unsub always wants the father to suffer, but this is a new level.” He looks up at Morgan. “I don’t think he has a reason for killing the children. I think he’s getting sloppy—he’s getting overwhelmed by his anger.” 

“You think he’s devolving,” he says, catching on. 

“Something tells me we’re coming to the end of the line,” Hotch says. “Whatever he does next, he’s going out with a bang.” 

-

The mood in the precinct has fallen dramatically since the last hit. The uniforms aren’t happy that they’re working around the clock, the chief isn’t happy that the BAU hasn’t figured everything out yet, and the city isn’t happy that ten murders have been committed with what they think is no end in sight. 

JJ and Rossi have gone out to bring in the suspect that he and Morgan found together for the sake of covering their bases—they still haven’t been able to find Lucas, despite Reid calling you every day to check in and upping police presence around the city. 

The rest of the team sits around a conference table, over a dozen coffees between them, going over everything and racking their brains for information. 

“This just isn’t matching up,” Reid complains. “Lucas has just been at home for the first two, but for the third and the fourth he’s got alibis.” 

“What are they?” Hotch asks. 

“He was on the road all night when the third happened,” Reid says. 

“And how do we know?” Prentiss asks. 

“Garcia picked up his debit card being used a couple times from Des Moines back to St. Louis when the third set of murders happened,” Morgan contributes. “Must’ve been a road trip, because there are stops at a gas station, a restaurant, and a rest stop.” 

“The last one happened during an AA meeting he was supposed to attend,” Prentiss says. “I called the leader and she said he was there.”

“Do we have footage from any of those places?” Hotch asks. “We need to make sure.” 

Reid nods. “I asked her to check it all this morning, including the AA meeting. She must still be going through it—I can’t imagine it’s easy to get all that access.” 

“What about a second unsub?” Morgan suggests. 

Hotch shakes his head. “These are all meant to be personal for liberation—catharsis. Involving someone else would take away from the feeling.” 

“What about your suspect?” Prentiss asks, looking at Morgan. “Could he be the unsub?” 

“Patrick Fenton,” Morgan says, and he shrugs. “He fits it—dead parents, jail time, child of abuse. But he’s got two sisters, and his parents died when he was in his twenties from a car accident. I don’t see why he would start killing almost twenty years later.” 

“Maybe we’ll figure something out in questioning,” Reid says hopefully. 

Morgan’s phone suddenly goes off, and he hits the button to answer. “You’re on speaker, babygirl.” 

“I found the security footage from those three places, the ones that Lucas was at on his supposed road trip when the third family was hit,” Garcia says, voice slightly tinny through the phone.  

“And?” Hotch asks. 

“I was getting there,” she says. “Lucas wasn’t there. He wasn’t on any of the footage—his sister was.” 

Hotch frowns. You? 

“You’re sure?” he asks. 

“I’m always sure,” Garcia responds. “And I don’t know if Spencer is there, but he also wasn’t there at the AA meeting—I combed through the whole meeting, and he didn’t show up at any point. Just another guy that looked like him.” 

“And you’re sure about that, too?” Hotch asks again. 

“What is with this questioning of my abilities?” she asks, offended. “Yes. I’ve stared at so many pictures of Lucas Hartford over these past few days that I’ve got him burned into my brain.” 

“Thanks, babygirl,” Morgan says. “We’ll call back if we need anything.” 

“And you’re always welcome in this house of miracles,” she muses. Morgan chuckles before he hangs up. 

“Lucas gave her his card,” Reid realizes. “It’s an easy alibi, but it falls apart when you look into it even a little bit.” 

“Probably seemed solid to him at the time,” Morgan says. “He doesn’t seem like a detail oriented guy.” 

Prentiss frowns. “That means he’s back on the chopping block. We can put him at the scene of every murder.” 

Hotch leans over the table and grabs Lucas’s file, and he pulls out the page compiling his family. “His father died a year ago from liver failure. Hartford got out of jail nine months ago after a six year stint.” 

“If he’s been plotting some elaborate murder of his father for years, just to get out of jail and find out he drank himself to death?” Morgan shakes his head. “He’d snap. It doesn’t feel like justice.” 

“He thinks he’s saving the kids of these parents that he kills,” Reid says. “He sees himself in them—he can’t look past his own childhood, and he assumes those kids must want their parents dead too.” 

“He’s trying to get back at his dad,” Prentiss says. “We know that.” 

“But that’s not his main goal,” Reid insists. “If his dad died when he was a kid, the abuse would have stopped. His mom wouldn’t be the battered wife anymore, and he wouldn’t be the battered kid.” 

“His goal has always been protection,” Hotch realizes. “Yes, he’s getting his revenge by killing his father over and over, but ultimately, he’s trying to save himself.” 

“But he didn’t anticipate the kids being home this time,” Prentiss says. “He had to kill them too.” 

“If he‘s seeing himself in these children, recreating what he never got to do, then that means that he effectively died in this scenario,” Reid says. 

“He didn’t get what he wanted,” Morgan says. “That’s gonna take a toll on him.”

“He’s coming to the end of the line,” Prentiss nods. 

Hotch’s brain is working overtime as they work information off of each other. They’re so damn close—they just need the last piece of the puzzle. If they find Lucas’s next victim, they find him. 

“His next crime will probably be his last before he goes out himself,” Reid says. 

“You think it’ll be a murder-suicide?” Morgan asks. 

“It’s common with family annihilators,” Reid says. “Hell, it’s common with anyone who sees no future beyond their murders. It’s their way out.” 

And then the answer hits Hotch like a ton of bricks. Reid is still rambling next to him. 

“If his dad was still alive, I’d say he would be the target. But the only one left—”

“—is his sister,” Hotch grits out, and he’s dashing out of the conference room before anyone can stop him. 

“Hotch!” Morgan yells, and he turns to Prentiss with wild eyes. “Where the hell is he going?” 

“The last victim,” she says as she starts following him. “The one person he never managed to save.” 

“Goddammit,” Morgan curses, and he grabs his phone from the table, dialing Garcia as fast as she can while he runs. Reid is close behind him.  

“What’s up, sugar?” she asks. “Got anymore leads?” 

He laughs dryly. “We’ve got a big one, babygirl. Lucas has finally reached the end of the road — he’s going for his sister. I need you to call JJ and Rossi and—” 

“Send them the Hartford address and fill them in on everything?” she interrupted, and he could hear her fingers flying across the keyboard. “Already on it.” 

“What would I do without you?” he asks. 

“Be half the man and twice as sad,” she says. “I’ve got to call JJ. Be safe, my love.” 

“Always,” he responds, and he hangs up. 

Hotch distantly registers Prentiss stopping by the chief to alert him of what’s going on, because he’s in the fog of a rampage. He’s in the driver’s seat before he knows it, starting the car, and he sees Prentiss, Morgan, and Reid running out after him. 

Prentiss takes shotgun and Morgan and Reid file into the back, and they’ve all got Kevlar vests in their hands. He didn’t really think of that through his haze. 

“We’ve got an extra one for you,” Reid says, reading his mind. 

“Thank you. I— I know what you’re all thinking—” Hotch starts, but Prentiss shakes her head.

“Just drive.” Her lips set themselves in a taut line. “We’ve got a murder to stop.”  

And he does. 

-

You sit on the curb, surrounded on either side by a box of your things. Packing up everything made you realize how little you had at his place. You thought you’d integrated yourself into his life fully, but it really just took an afternoon while he was in a lecture to disappear. 

Summer has fully turned to winter, and you’re as morose as the weather. This side of town looks so depressing without the warmer months to pick it up—the sidewalks are lined with dead trees, the grass is shriveled up and yellowing, and you feel like you’re living in grayscale. 

A shiver runs through you, the weather only partly to blame. 

Amy is supposed to pick you up, but as usual, she’s running late. You don’t know if it’s a personal issue or DC traffic has just struck again, but it doesn’t really matter. Either way, you’re stuck here, and your bad luck seems intent on making it worse, because you watch a familiar car pull around the corner. 

It parks a distance away—there’s no space in front of the complex, and he always complained that they didn’t do assigned spots—and you have to hold back a scornful scoff. 

Of course you have to deal with this now. 

Aaron picks up his pace when he gets out of the car, surprise—and what you think is shame—painted on his face. He says your name when he slows down. 

“You’re already packed.” 

You shrug. “I’m nothing if not efficient.” 

“I could’ve helped you with all this,” Aaron says, frowning. 

“Why do you think it’s done already?” you ask. 

His throat bobs and he opens his mouth, but nothing comes out.

“Let me save you the pain of chivalry,” you say. “I’ve got a friend coming to pick me up. I’ve already found a place. I called your property manager the other day and argued my way out of the lease, but I still paid my next month. You’re welcome.” 

“You didn’t have to do that,” he says. 

“You know what they say about a clean break,” you intone.  

“I’m sorry,” Aaron tries again. To his credit, he looks like he means it. Against his credit, it’s about the fiftieth time you’ve heard it from him in the past two weeks. 

“I shouldn’t have let you get that coffee,” you say with a grim smile, “should I?” 

His lips pull into a taut line. “I didn’t cheat on you.” 

“I know,” you say. It’s the one thing you do believe. “I just don’t think you ever fell out of love with her.” 

Mercifully, you see Amy’s car pulling up in the distance. She’s your only friend with an SUV, so at least your boxes will fit. 

“My ride’s here,” you say as you stand up, and you pick up one of your boxes. Amy throws on her hazards and she gets out to open her trunk. 

“I’m so sorry I’m late,” she breathes. “Traffic was awful, and Jake has been so annoying—” 

“Don’t worry about it,” you say with a slight smile as you put your box in the back. “You’re already doing me a huge favor.”  

“I want us to still be friends,” Aaron calls. When you turn back, he has your other box in his hands, his expression shamelessly desperate. Amy glares daggers at him. 

“Why?” you ask innocently. “So I can go without talking to you for ten years, ask you for a coffee when I’m in town, and then get you to leave Haley?” 

“That’s not what happened,” he says, but you’re already shaking your head. 

You take the box from him and smile thinly. 

“Have a good rest of your life, Aaron. I hope it doesn’t involve me ever again.”

-

You let out a noise of frustration as you struggle to get the key into the lock, gritting your teeth as you try to fit it in. It’s always been finicky, but you just don’t have the energy to deal with this tonight. Thankfully, just when you start getting annoyed, you get it open. 

You get a few steps in before your eyebrows rise, the sight of your brother at the kitchen table a surprise. He’s got his head in his hands, and your surprise turns to concern.

“Lucas,” you say with a slight smile, shutting the door behind you, “I didn’t know you were gonna be home tonight.”

His attention shoots to you immediately as he says your name, and he looks slightly out of it. “I was wondering when you were gonna get back.”

“Stole the words right out of my mouth,” you say wryly, and you ruffle his hair with your free hand as you walk past him. He swats your hand away in brotherly protest, and you snort. “This place has been quiet without you. Well— except for the cops. They were pretty loud.” 

“They haven’t been back, have they?” 

You look back at him and notice his leg is bobbing up and down insanely fast, and he keeps scratching at the soft wood of your table with his nail. 

Your smile fades. “Don’t tell me you’ve been drinking.”

“Of course I haven’t,” he insists, but you turn on the kitchen light, then move closer to peer into his eyes against his protests. 

“At least you’re not high,” you murmur, taking one last look before you pull away. “And stop ruining the table. I need it to last for the next ten years.” 

He huffs, and you can practically hear him roll his eyes, but he stops. 

“Did you go to class today?”

“You don’t have to act like Mom,” Lucas says, crossing his arms again with another huff. 

“And you don’t have to act like a child.” You roll your eyes as you set your tote bag on the countertop and begin unpacking the groceries you bought. “I’m asking you about your day—that’s definitely not acting like Mom.”

“Yes,” he mocks. “I went to class.”

“Good.” You glance back at him. “I’m proud of you, Luke. You’ve been making progress.” 

His smile is a bit thin, but he nods. “Thanks. How was work?”

You scoff and shake your head as you put a couple things in the pantry. “Don’t even get me started. I swear, Marie’s going to get me fired someday if she keeps her bullshit up.”

“She’s still on it?” Luke asks, and you can’t help but smile a bit. 

“Don’t act like you know what I’m talking about,” you say. “Just agree with me.” 

“I agree with you,” he says. 

“That’s it,” you muse. 

Your eyes fall back on your bag, and you’re reminded of what you meant to do next time your brother showed up. 

“Oh—” You go back over to the kitchen table for your bag and pull out your wallet. You slide a debit card out and hold it out to your brother. “Thanks for letting me use it while I was up in Des Moines. I finally got my bank to get rid of the freeze on my card.” 

“…Of course,” he says, and he takes it back. “Glad I could help.” 

“I’ll pay you back, obviously,” you say as you get back to your groceries. “I just have to wait to get paid again.” 

“Don’t worry about it,” he says. “And uh— you never answered me. Did the cops come by again?” 

You huff a mirthless laugh and shake your head. “You have nothing to worry about, Luke. I think they finally realized they were barking up the wrong tree.”

“…Good,” he says. “I can tell they’ve stressing you out.”

“Like that looks any different than my normal state,” you say wryly. “Besides, it wasn’t that bad.” 

You recall the shock you felt when you opened the door to Aaron, and how nervous you were on the drive to the precinct. It’s almost been a decade, and yet he still has an effect on you that he has no right to. 

“You remember that guy I dated when I was still in law school? Aaron Hotchner?”

“I think? I was in jail, so.” 

You roll your eyes. “I know I told you about him when I visited you while we were together.” 

“I remember you telling me how he broke your heart,” Luke says. 

“That’s not what I’m saying.” 

“Then what are you saying?” 

“That he’s with the FBI now. The BAU,” you enunciate, and you huff. “He’s one of the guys on this case, coincidence that it is. They came here—they even brought me in for an interview.”

He frowns. “What’d you say?”

“The truth.” You pull your cutting board and a knife out of a drawer and get to work washing your vegetables. “That I didn’t know anything, and neither of us are involved in either way.” You shake your head with a sigh. “They must believe it, because they haven’t come back.” 

“What have they said about me?” he asks. 

“I’m not supposed to say.” You roll your eyes. “I think you’re innocent, but I could get charged with obstruction, and I really don’t feel like dealing with that…” 

You trail off into a sigh as you finish washing the peppers and set them on a towel. “I hope they find whoever’s doing it, though. It is freaking me out that there’s a murderer out there.” 

You pick up your knife and start cutting them up—they’re not the freshest, but it’s all Kroger had after work—and you glance back at Luke. “You really shouldn’t be going out so often with this going on, y’know. I don’t want you getting hurt.” 

“Don’t worry,” he says. “I’m careful.” 

“I doubt that,” you say wryly. “Still, though. I worry about you.” 

“Shouldn’t it be the other way around?” he asks. “I’m your older brother.” 

“I worry about everything,” you say. “It’s my thing.” 

You hear him huff a laugh and you smile a bit to yourself. You get through your first pepper before you remember what’s been nagging at you your whole ride home. 

“Oh— can you get the TV?” you ask. “Channel 8, I think. Marcy is getting interviewed for something with her nonprofit, and I told her I’d record it for her.”

Lucas doesn’t respond, though you hear the scrape of the chair as he gets up. 

“Thank you,” you say. “I think they have a fundraiser coming up or something…” you trail off and shake your head as you scrape the cut peppers onto a plate. “God. I need to start paying attention in the break room.”

Another few seconds pass, and you don’t hear the television switch on. You huff and turn your head slightly. “Luke, I’m making dinner tonight. This is the least you could do.” 

“I’m sorry.”

The words come out as a murmur, but you can tell he’s much closer than he was before. 

You don’t even get the chance to turn around before something crashes against your head and your vision goes dark. You feel yourself fall to the ground, and your head hits the floor hard. 

Then, there’s nothing. 

-

Hotch has been breaking every speeding law there is. 

The station isn’t too far from your house, but it’s still too far. All he can see is your body, crippled and lifeless just like every other victim they’ve had to look at. 

It should never have gotten to this point. Lucas has been a suspect for the first day, but they looked to other suspects, got caught up in statements from neighbors and the kids of the victims. 

If Hotch just found him and booked him on the first day, this wouldn’t be happening. Your life wouldn’t be in danger. 

His hands tighten on the steering wheel. 

“I seriously think we’re looking at a murder-suicide if this gets to play out,” Reid speaks up from the backseat. “This is his way of ending this for both of them—the ultimate protection of his sister.”

“No one can hurt her if she’s dead,” Morgan mutters. 

“Hotch,” Prentiss starts, treading carefully, “are you sure you’re okay to lead this?”

“Yes,” he says, though he wants to say what kind of question is that?

You were together a lifetime ago in law school, yes, and he might still have feelings for you that he didn’t even realize were there, yes—but he’s an agent and a professional before all of that. 

It doesn’t matter that you have history. It doesn’t matter that you likely hate him. 

It doesn’t matter that he thought he was going to marry you one day, and then was watching you drive out of his life after he got back with his high school girlfriend another day.  

Aaron Hotchner is not going to let you die. It’s as simple as that. 

Hotch’s phone rings and he picks it up and flips it open immediately. “Talk to me, Garcia.”

“JJ and Rossi are on their way,” she says. “Are you headed to their place?” 

“Yes,” he says, and he puts it on speaker. “I’ve got Prentiss, Morgan, and Reid with me still.” 

“Do you think there’s anywhere else he could be?” Morgan asks. “If he’s going to kill her, he might not want to do it in this house.” 

“Already a step ahead of you, my love,” she says, and he can hear mouse clicks through the phone. “They grew up in a house in St. Charles—it’s abandoned, from the looks of it, some place on the outskirts. Never got another buyer after the past owners moved out. I’m sending the address to Emily right now.”

Prentiss gets a buzz on her phone and she nods in confirmation after flipping it open. Hotch immediately switches lanes and makes a U-turn, his jaw clenching. 

“Tell me how to get there, Prentiss,” he says. “He’s there.”

“You need to get on I-70,” she says, and then her brow furrows. “How do you know?”

“He’s killed everyone else in their homes because he sees it as the source of it all. His sister’s rented place isn’t personal enough.” Hotch shakes his head. “Why wouldn’t he want to go back to theirs to end it all?”

“Hotch.” Penelope’s voice rings out in the car, and he doesn’t even realize he forgot to hang up. 

“What?”

“Be careful,” she says, and he rushes to turn it off speaker and press it to his ear. “I… I know how important this is to you.”

Hotch’s throat bobs and his eyes burn with the beginnings of tears. He blinks them away—he can’t be weak now. He can’t let his team see him be weak now. “Dare I ask how?”

“I found an article about GW’s mock trial team,” she says. “Kind of went down a rabbit hole from there.”

Somehow, he huffs the slightest laugh. It feels like a lifetime ago—it honestly is, at this point. Before he saw carnage and gore on a daily basis and tried to solve it, when he thought the DA’s office was the endpoint, when he came home to your smiling face every night. 

And now… 

Hotch’s spine somehow stiffens, and he knows the other three in the car are watching him. He can’t decide whether he cares or not. 

“Thank you, Garcia.”

“No problem,” she says, and he can almost hear her blink in the pause. “Uh— for what, exactly?” 

For the memory, he wants to say. But he doesn’t. He can’t, not right now, so he tries his best to snap out of it. 

“Keep a watch on the patrol cars,” he says instead. “Update JJ and Rossi on our plan, but tell them to stay on their path. I’m sure I’m right, but we need to cover our bases.” 

“Of course, sir.” He hears her fingers flying across the keys. “I’ve got yours and the squad cars’ locations up—I’ll call them now.” 

“Thank you,” he says. 

“Good luck, Hotch,” Garcia says softly. 

Hotch hangs up before he gets too emotional. Penelope has a way of bringing that side out of him. 

“We’ll get him,” Prentiss assures. She’s been watching him this whole time, he can feel it—she’s been attuned far too keenly on this entire part of the case involving you and him. “And we’ll save her.” 

His knuckles go white around the steering wheel, and for once, Hotch can’t find the words. 

-

It feels like your head is slowly being cranked in a vice when you eventually wake up, a dull but insistent pain. Your arm stings too, but you don’t know why. 

You blink a few times as you try to figure out where you are, a low groan slipping out as you fully come back into consciousness, and you move to rub the grogginess out of your eyes. 

Your arms don’t move. You try again, panic spiking your heart for a moment, and that’s when you realize you’re in a chair—tied to a chair, your wrists bound together behind you and your ankles bound to the chair legs. 

Now the panic fully sets in. There’s a murderer in St. Louis, but you don’t fit the victimology from what you’ve seen, but does any of that fucking matter when you’re stuck in something out of a horror movie?

Lucas was the only one there with you. So either he’s in the same situation, or he—

“You’re finally awake,” a voice murmurs. When he comes into view and sits down across from you, your heart stops. 

For a moment, all you can do is stare at your brother with wide eyes. You see the gun in his hand through your peripherals, but you don’t look away from his gaze. 

“I was worried I was too rough,” he says softly. “But you’ve always been resilient.” 

“Lucas,” you breathe. “What the fuck is this?”

“It’s finally going to be over,” he says, ignoring your panic. “We’ve been hurting our whole lives because of that bastard of a father, and I can finally make it all stop.” 

Your brother is fucking crazy. He’s fucking crazy, and he’s going to kill you.

You’ve spent two weeks telling Aaron he was crazy and your brother was innocent, and now he’s going to be proven right when he finds your dead body. 

You try to tamp down on your panic. You don’t have a law degree, sure, and you never officially practiced, but you’ve been a good speaker, a persuasive one, all your life. 

And if there’s ever been a fucking time to be persuasive, it’s now. 

“You don’t have to do this,” you whisper. “We— we can talk if you want to talk.” You tug at your ankle restraints. “This is unnecessary.” 

He shakes his head. “I know you. You’d run.” 

“Come on.” You manage as much of a smile as you can. “I’ve always been there for you, Luke. Why would this be any different?” 

“…You’ve always been too nice,” he says, and he sets the gun down on his leg. At least he doesn’t have his finger on the trigger. “Anyone rational would’ve kicked me to the curb when I asked you for help.” 

“You’re my brother,” you whisper. “I— I love you, Lucas. I’d never do that to you.” 

“Family’s supposed to be everything, right?” He shakes his head. “You were the only one of us that understood that. You were there to pick me up every time my sentence was up.” 

“I’ve always believed in you,” you say. 

He huffs a monotone laugh as he stares at the ground. “You’re definitely the only one.”

You shake your head. “That’s not true.” 

“Mom didn’t care enough to stop anything,” he says, leaning back in his chair. “And Dad wished I was dead every goddamn day. He didn’t have the guts to do it himself, but he definitely tried.” 

You can’t defend your parents. Your dad’s a piece of shit, and your mom didn’t stop anything he did—but you could never find it in yourself to fully hate her because he hurt her too, with more than just bruises. 

“I’ve dreamt of killing our dad every day for twenty years,” Lucas says. “And that old bastard had to fuck me over one last time and die while I was in jail.”

You remember when you got the news. You were next of kin—your mother was dead, and your brother was incarcerated—so you got the call from the hospital. You deliberated for hours before you bought a plane ticket to Montana—apparently that was where he fucked off to drink himself to death—and you don’t know if you’ve ever felt more numb than when you were sitting in some lawyer’s office, listening to him drone on about his will and how his estate would be divided. 

“So you killed all of those people?” you asked. “Because you didn’t get to kill our dad first?” 

“I was saving those kids!” Luke yells, and you shrink in on yourself. “Saving them before their parents could fuck them up like ours did to us!” 

“You don’t have to do this,” you repeat. “You’re just letting Dad win. Proving every shitty thing he said about you.” 

“And that’s the zinger, isn’t it? Luke laughs and shakes his head. “He was right. We’re a whole family of fuck-ups. An alcoholic abuser, a battered wife, a nonstop jailbird, and you…” He shakes his head with a sigh. “You should be out there prosecuting people like me.”

“He ruined us,” Luke murmurs. “And I’m finally going to fix it.” 

All you can do is stare at your brother, wide and teary eyed. You can’t find the words, but you don’t have to. 

Police sirens begin to filter through the air as they get closer, and Luke huffs. “Of course.” He eyes you. “Don’t go anywhere.” 

“I wouldn’t dare,” you say weakly. 

When he leaves to peer out the front door, you take a second to look at your surroundings. It takes a second because they’re so decrepit, but you could never forget. 

Luke brought you back to your childhood home—the place in St. Charles, rotten down to its bones. It’s abandoned by now, but the atmosphere is nothing less than oppressive. There’s a reason you graduated high school a year early, why you never came back once you got to college—except with Aaron, to help your mom move her things out. 

You refuse to die here. Even if you have to claw your way back through the gates of Hell inch by inch—you will not die here. 

You hear footsteps, and when Lucas comes back in, he has a crazed glint in his eye. He shakes his head as his finger returns back to the trigger, and you can’t help but flinch. He won’t. Not now. 

“Looks like your friends the FBI are here,” he drawls. “You said you didn’t tell them anything.” 

“I didn’t,” you insist. “They’re profilers—they figure things out.” 

He shakes his head. “They don’t realize that I have to do this.” Luke kneels down in front of you and takes your chin in an iron grip. “This is the only way to end our pain.” 

He lets go of you then stands up, moving behind you—you want to protest, but you don’t get the chance. He presses his gun to your temple and then the door is broken down. Four agents rush in, guns at the ready. Aaron leads them, and he’s got fire blazing in his eyes.

“FBI,” he barks. “Hands up.”

Lucas doesn’t seem fazed, his breathing staying the same. You stare right at Aaron, unfiltered fear in your eyes, and you feel torn bare. He’s going to watch your brother put a bullet in your head. 

“I’m afraid I can’t do that,” he says smoothly. “This is a family matter.” 

“Put the gun down, Lucas,” Aaron says. 

“You know my name,” he says. “I know yours too, Aaron Hotchner. My sister told me you were with the feds. She also told me you broke her heart.”

“Put the gun down,” he repeats. 

“I don’t think I will,” Luke says. “You see, I don’t go around just kidnapping people for fun. I have a purpose here.” He tilts his head to the side. “But you know that, don’t you? You’re all profilers.” 

“You’ve been targeting families that look like your own,” he says. “You think that killing them will end the pain inside you, and protect those kids in a way that you never got.” 

“I don’t think it,” he bites, “I know it. If my dad had been shot thirty years ago, we wouldn’t be here right now.” 

“This isn’t going to bring you peace,” Aaron says. “Your sister has been the only person to stay by your side through every part of your life. Do you really want to lose that?” 

“Trust me,” Luke says. “I’m not losing her.” 

He flicks the safety off and you flinch. He’s going to kill you. 

“Put the gun down,” another agent warns. 

“If you all don’t leave right now, I’ll shoot her.” Your whole body stiffens as he presses the gun harder into the side of your head, your breathing going off kilter. “Except you, Aaron Hotchner. You can stay.”

“We’re not doing that,” the woman says. Agent Prentiss, you think. 

“Really?” Luke chuckles. “You think you hold the cards here?” 

“It’s okay,” Aaron says. “Go.” 

Agent Prentiss frowns, and the other two men look different levels of puzzled. They obviously doubt the decision, but they don’t doubt Aaron, because one by one, they leave. 

“Wow,” Luke muses. “They really trust you.” 

“Because I know you don’t want to hurt her,” Aaron says. “Deep down, you know you’re not protecting her. Not by hurting her.” 

“I’m not hurting her,” he says. “She’s always been the one to keep me safe over the years—I’m finally paying the favor back. I’m finally taking her pain away.”

“You were abused as children. Both of you.” Aaron looks at your brother. “Your sister always tried to protect you, but it never worked. It just made it worse for her, and it made you feel worthless. You’re her older brother. You’re the one that was supposed to protect her.”

“My sister said you’re profilers,” he says, and though his tone is lazy, you know your brother. You can tell it’s starting to get to him. “Is that what you’re doing right now? Profiling me?” 

“You would never be good enough for your father, and your mother would never do anything to stop it,” Aaron continues. “All you had was your sister, and even that wasn’t good enough—you hurt her just as much as your dad did. At least your dad didn’t think he was a good person.” 

Luke growls, and he puts a hand on your shoulder to pull you closer to him. “Shut up.” 

“Your sister has told me you can be more than this,” he says. “And I think she’s right. You’re better than this—better than living between the margins and jail.” 

“I’ve had a hole in my chest since I was born,” Luke mutters. “And I’ve tried to stop it, but it’s just grown and grown and grown. This— this aching pit of pain, and he caused it. You’ve got it too— I know it.” 

“I— I do,” you say. And you’re not lying. You’ve had a pit of despair in you for as long as you can remember. The only difference is that you’ve fought every goddamn day of your life to keep it from consuming you. “And it hurts, Luke. Trust me, I know. It took me so long to even be able to deal with it, but I know how to. I can help you—we can both walk out of here.” 

“No,” he whispers. “No—we can’t.”  

“Yes, we can,” you plead. “I love you, Luke. I’ll spend every day of the rest of my life helping you if that’s what it takes to get rid of that hole.” 

For a moment, he doesn’t say anything. For a moment, you think you’ve gotten through to him. Aaron never takes his eyes away from you. 

“I’ve never been able to protect her,” Luke murmurs. “Not from our dad, not from the world, not even from you, Aaron Hotchner.” He presses the gun harder than ever into your head, like he wants to bury the metal in your skull along with the bullet. “But that all ends now.” 

You screw your eyes shut. You don’t want to see Aaron’s face when your brother kills you. 

And then it happens so quickly you barely process it. 

There’s two gunshots, almost at the same time. You scream, first because of the gunshots, then because of the sudden roaring pain in your side. There’s a thud next to you, your eyes shoot open, and you see your brother’s lifeless body fall to the ground. 

You scream again—you can’t even control it, it just rips out of you at the sight of the hole in his head and the blood pooling beneath it—and Aaron drops his gun to rush forward. The rest of his team thunders in after him, all in guns and bulletproof vests, and they’re talking, but you can’t focus on a single goddamn thing because your brother’s dead body is right next to you. 

Aaron pulls out a pocket knife and begins to cut through your restraints, and the instant he finishes you collapse. He catches you without a second thought, and you immediately wrap your arms around him. 

Torrential sobs wrack your entire body as you bury your face in the crook of his shoulder, every part of you shaking as the reality of it all hits with full force. 

Your brother is a serial killer. He killed ten people, he tried to kill you. And now he’s dead. 

The only part you had left of your family—gone, just like that, with four other families ruined in his wake. 

Aaron’s soft voice in your ear is the only thing bringing you back from the edge of hyperventilation, his own hold on you the only thing keeping you from collapsing.

“I’m so sorry,” he murmurs and he shrugs off his windbreaker to wrap it around your arms. “You’re safe now. You’re safe.”

“He’s gone,” you choke out, voice muffled as you speak into his chest. “He’s gone, and he tried to—”

A fresh round of emotions hit you, unable to get the words out, and you fully break down in Aaron’s arms. 

“I know.”

Aaron’s fingers linger on your side and you feel some dull pain, but you feel his breath still for a moment. 

“You were shot,” he says with your name. “We have to get you to a hospital.” 

You don’t even feel it. God, you don’t feel anything. There’s a distant ringing in your ears, an insistent pain in your skull, and you finally realize Aaron is right when you pull away and see the blood on his fingers. 

But black spots start to fill your vision. You may not feel it, but your body holds the score. The pain intensifies in your side as your adrenaline starts to slow down, and you collapse against Aaron. 

“Get an EMT in here!” he yells, keeping an arm wrapped around you. “We’ve got a GSW— she’s losing blood fast!” 

You can feel Aaron’s rapid heartbeat, can feel his steady arms as he keeps you propped up. You feel the warmth of his body, feel the warmth draining out of yours. 

“Aaron,” you whisper, your strength fading. You don’t think he hears you.

He helps you up and you’re suddenly hoisted onto a stretcher, and he’s beside you as the EMTs run you out of your childhood home. The night is a blurry canvas of red and blue lights, and your eyelids feel like they’re made of concrete. 

“Aaron,” you try again, and you have enough left in you to grasp his cheek. “Thank you.” 

And as the world goes black around you for the second time, you see his lips form your name. 

It’s not a bad thing, you think before darkness overtakes you, for Aaron Hotchner to be the last thing you see before you die. 

-

You wake up in the hospital alone.  

You don’t know what you expect. You have few acquaintances, fewer friends, and the last part of your family is dead after he tried to kill you. 

The real surprise is that you wake up at all. 

Lucas is dead. 

He tried to kill you. You thought he succeeded. 

You let out a slow, even breath, accompanied only by the sounds of beeping machines. It still doesn’t exactly feel real. 

You’ve spent the last two weeks defending your brother against every accusation, and you ended it in the hospital—well and truly alone for the first time in your life. 

You look at the television. Some muted soccer game is playing, and you’re thankful. You were worried that you and your brother would be the topic of the day. 

Who are you kidding? You’re going to be the topic of the year. He killed ten people. He tried to kill you, and you think he nearly did. He shot you, after all. 

You let your head fall back against the pillow. All of your limbs feel insurmountably heavy, your side aches like hell, and you’ve got the worst headache of your life. 

And you can’t stop playing it all over in your mind. 

He was going to kill you. 

Your own brother, your flesh and blood, the only person you had left, tried to kill you and would have killed you had it not been for the BAU. 

Had it not been for Aaron Hotchner. 

The door opens and someone walks through, your eyes following the movement, and when he sees it, he pauses. And so do you—apparently the devil appears even when you think of him. 

“You’re awake,” Aaron says after a moment. It’s the third time he’s sounded surprised since you’ve met him again. Seeing you, finding out your mom is dead, seeing you. 

But there’s relief there, too.

He has a coffee in his hand and his tie is undone, the sleeves of his white undershirt rolled up to his forearms. It makes you realize his suit jacket has been slung over the back of the chair near your bedside. 

“How long have you been here?” you ask, your brows furrowing ever so slightly. 

Aaron closes the door and sets his coffee on the table before he answers you. “Three days.” 

“And how long have I been here?” 

“Three days,” he says. “You suffered head trauma, they discovered drugs in your system, and… you were shot. You had to go into emergency surgery.” 

You frown, and he answers before you can ask any of them. “…Your brother. After he knocked you out, he used something to… keep you out. And after I shot him, he still got one off—thankfully, as he was falling. The bullet hit you in the side instead of the head.”

“How bad was it?” you ask. 

Aaron glances away. “You died on the table. They managed to bring you back, but…” 

“I guess Luke did succeed,” you say absentmindedly. Aaron doesn’t laugh, and you glance away too. “Sorry. Bad time for jokes.” 

He shakes his head. “If anyone’s allowed to joke about this, it’s you.” 

Your lips twitch for a moment, but then you look back at him as he takes a seat at your bedside again. He looks— god, he just looks tired. Tired and ragged and downtrod, and you can’t imagine you look much better.  

“You were out for two days after,” he explains. “This is the first time you’ve woken up.”

“Why are you here, Aaron?” you ask quietly. “Why have you been here?” 

Aaron frowns. “Where else would I be?”

Your throat feels like it’s closing up, and you feel the telltale pinpricks of tears. You blink them away before they can start. 

“My brother was a serial killer, Aaron.” Your hands clench into fists as you stare at the wall. “He killed ten people while he was living with me and I— and I didn’t even fucking notice.” Your gaze moves back to him. “I went against all of you because I thought I knew him, and look where it got me.” 

“It’s not a crime to want to see the best in people,” he says. “Especially your family.” 

“It’s a crime to fucking murder people,” you huff, and it’s only slightly unhinged. “I— I thought I knew him, and I didn’t. And if I did, maybe none of these people would’ve had to die.”

“Don’t blame this on yourself,” Aaron demands. “Lucas was lost. Mentally ill. He was on a path for revenge, for his deranged idea of protection—nothing you could have said or done would have stopped him.” 

You shake your head. “It might be easy for you to say that, Aaron, but I— I can’t. He’s my brother. I gave him a place to live, I gave him easy access to families— god, I fought with you all for two weeks about his innocence, all while he was planning his next fucking murder!” 

“It is not your fault,” he repeats, slower and enunciating the words. “He was the only member left of your family, and you loved him. You were just stubborn, and that’s nothing new.” 

“I just don’t know what to do.” You’ve had these walls up for so long, especially this past week, and now that everything’s come to a head and you’re in the hospital and your fucking brother is dead, the floodgates have opened. “I have to plan a funeral because I’m the only one left to plan one, but— but does he even deserve one? He’s a serial killer, and he tried to kill me for god’s sake, but he’s my brother and even though he’s gone he’s still all I have left and—” 

You break off as you suck in a huge breath of air, the notion shaky as you clench your hands into fists to keep the rest of your body from doing the same. 

“And I just don’t know what to do,” you repeat, barely a whisper. 

You meet Aaron’s eyes, almost desperately. You feel like you’ll shatter into a million different pieces if you even breathe wrong and he might be the only solid thing in your life. 

“Whatever you do,” he says, “you don’t have to do it alone. Not if you don’t want to.” 

“Aaron,” you start shakily, but he continues. 

“I know what you think, and that’s not what I’m suggesting.” Aaron pauses for a moment, and it’s obvious how carefully he’s crafting his words. “I’ve… always regretted how we left things. And I regret losing touch with you. This isn’t the way I would’ve liked to meet you again. But I’m thankful I have.”

He pulls a card out of his shirt pocket and holds it out to you. You realize it’s his business card, and it’s got his number. 

“I’m sorry for the formality,” he says dryly, “but I don’t exactly go around prepared to give out my number for purposes other than work.” 

You take it without giving yourself the chance to think about it. You run your finger around the sharp edge of the cardstock, pressing the pad of your thumb against the corner. 

“Years ago, you wished me a good life, and that you didn’t want to be involved in it,” he says, still treading carefully. You can’t believe he remembers the last thing you said to him. “But— but a lot has changed since then, and I hope that has as well.” 

“I’d like you to be a part of my life again,” Aaron finally says, “if you want to be a part of mine.”

For a moment, all you can do is stare at him. Two and a half years of law school flash behind your eyes—coffee shop dates and endless hours spent studying at the library. Movie nights cuddled on his couch, hauling boxes out of your house at an ungodly hour to get away from your roommates. An unhealthy amount of all-nighters immediately followed by going out to celebrate a miracle of an A on an exam. Getting through every soul-sucking part of earning a J.D. together, falling apart before either of you could make it to the other side, and somehow…

Somehow, you’ve ended up on a completely different side together. 

“My life isn’t going to be easy,” you say faintly. “Especially… moving through this.” 

“My life isn’t easy either,” he says. “I’m divorced with a kid and I try to solve murders every day.” 

“It’s not a contest.” An attempt at a joke, but it falls flat for you. Aaron’s lips still quirk at the edges the slightest bit. 

“Getting through this certainly won’t be easy,” he agrees. “But I have more experience than most in these sorts of things. So if you ever need anything, call. Please.” 

“I imagine you’re pretty busy,” you murmur. “Unit chief and all.” 

Aaron shrugs. “I make time for the things I care about.” 

Thankfully, you don’t have to figure out how to respond to that, because there’s a knock on the door, and a nurse walks in after you call a come in.

“It’s good to finally see you awake, sweetheart,” the nurse says with a smile. It warms you from the inside out. 

“It’s nice to be awake,” you say. Her smile widens and she moves over to the computer in the side of the room—to add some things before she makes her checkup, you assume. 

“I’ll give you some time alone,” Aaron says.

Before he can stand up, you grab his hand. It’s fully on instinct, and he looks just as surprised as you feel.  

“Don’t go,” you plead, and it’s almost a whisper. “I— just— please.” 

Aaron stares at you for a moment, that shock glinting in his eyes before it transforms into something a lot warmer. He nods and sits down. 

“Okay.” 

And he stays. 

This time, he stays.

[after-witch]

Damn Your Eyes Chapter 2 [Yandere Ren Hana x Reader]

Title: Cream and Sugar [Damn Your Eyes Chapter 2] [Yandere Ren Hana x Reader]

Synopsis: A fateful meeting at a bookstore between you and Ren Hana, years upon years after your escape from Strade, turns into a coffee shop date. You're not supposed to accept drinks from strangers, but Ren's not a stranger--so it's fine, right?

Word count: 5,322

notes: yandere, descriptions of violence/death/wounds, drugging

AO3 LINK

How did one get over something like Strade? Get over that house and that basement? How do you move on with your life when you’ve seen someone’s guts spill out of their body while they’re still alive, and you’ve been instructed to pick them up and play with them for the delight of sick fucks watching it all on a paid stream?

The pretty answer, the one everyone recites when asked, because that’s what you do: with therapy and time and forgiveness for yourself. You take it one day at a time. You treat yourself. 

The real answer: You didn’t. You don’t. You can’t. 

Not fully. Because “getting over” something like that means it will eventually no longer affect you, no longer being a part of you. 

And sure. You will, eventually, go about something that feels like an ordinary life. 

You will walk into a grocery store with a tidy little list, you will roll your eyes at the rising cost of laundry detergent, you will smile at a cashier who says they like your outfit. You will date and drink coffee and sway to your favorite song while making dinner. 

But inside, inside of you , you are still there--still hovering at the last step of the basement stairs, listening to someone’s guttural shrieks as their skin is blow-torch melted down. Still clinging to Ren in the middle of the night, flinching when his hands wander over a recent gouge, a hastily stitched cut--an accident, he whispers, and you’re never sure if you believe him.

And that is what happened to you. 

It took years, of course, to even get close to that semblance of normalcy. A few years were spent in feverish hiding, running from place to place with no paper trails that might lead some gorehound that subscribed to Strade’s torture porn sniffing at your door, hungry for more. 

But you settled down, in time. Slowly. Bit by bit, piece by piece, inch by inch. 

That took years, too--the settling. 

It started with staying in an apartment for more than three months at a time. It started with going to the grocery store wearing only sunglasses, instead of sunglasses, a wig, and the most nondescript clothing you could fish out of a bargain bin. It started with applying for real jobs, not just seedy work that paid cash, quick.

It ended here, in this quaint little home that you shared with your husband for the past five years, though you’d lived together for longer. It ended here, with a modest marketing career that you’d built up after going back to college. It ended here, with a life you built for yourself; frail and a bit unorthodox, but a life nonetheless. 

You wouldn’t have been able to survive, if you hadn’t adapted. There is only so much terror the human man can manage before breaking entirely, and so--adaptation. 

It was a gift that your husband didn’t mind your… differences. The heavy insistence on home security, the desire for privacy, the slow way you gave trust to strangers--if you gave it at all. 

Some things did bother him. He grumbled about your lack of social media presence, and you’d once had an awful fight when his sister put a photo of you on Facebook that you’d demanded, in furious tears, be taken down. 

But, deep down, it wasn’t like you could blame your husband for bucking against your near tantrum-like reaction. For the way he sometimes sighed as you locked the front door with triple locks, and an electric sensor. For the way his jaw sometimes set, when you did something that wasn’t normal to anyone who hadn’t been the extended torture victim of a serial killer that doubled as a snuff porn producer.

Because you knew--deeper down--that you were still haunted by the ghosts in that basement. Strade and the torture victims and Ren and yourself, shaking like a leaf, bleeding onto concrete. You knew, even if the man you slept beside in a bed every night had no inkling of it, that you could never step back across that threshold and be the way you were before.

But.

And there’s always a but, isn’t there?

But… that was okay. It was okay that you could never go back; it was okay that you were someone new; it was okay that you weren’t okay, and you’d never be okay in the fullest sense of the word.

Your life was a life you created out of shaking fingers, something clawed out with dirty fingernails. It wasn’t perfect, but it was yours.

What more could you ask for, after Strade?

What more could you ask for, after anything ?

--

Books are a vice. More than smoking, more than sex. You could give up sex, you could swear you’ll never buy another pack of smokes, but you could never give up books. 

Okay, okay. You’re being over dramatic and theatrical. But how can you think of books as anything other than a sinful pleasure when you’re surrounded by these shelves and stacks, imagining that one day you can afford an extension on your home and dedicate an entire room (or two--why not, in a daydream?) solely to books?

You’re not even supposed to be here today. It was your day off, and your calendar was packed to the brim with mundane errands. Today’s schedule certainly didn’t leave room for indulgently browsing at a bookstore, but sometimes you just have to live a little, don’t you? 

Although if you come home with yet another bag of books, your husband is bound to shove his face into the nearest couch cushion and scream. But c’mon. It wasn’t your fault that you’d long since run out of shelf space and were prone to stuffing the books into boxes that cluttered the closests. 

Your fingers wander over the spines of the books crammed onto the shelves, catching the uneven mismatched spaces between with every dip. The spines are often worn and weathered, some of them even peeling a little. 

This was why you preferred secondhand bookstores. No neat lines of fresh new books set up to catch the eye and make a sale here. No, instead there were countless books shoved together with no care for size or color or sometimes (depending on who was stocking that day) even genre. 

For instance, today you find a battered paperback copy of Carrie by Stephen King right next to a suspiciously pristine How to Keep Your House from Drowning that probably still has an uncracked spine. That poor soul, with a messy house. Maybe they should have read the book. 

You’re about to keep moving when, on second thought: Your partner might get a kick out of finding that book on his nightstand. Or he’ll chuck it at your head (lovingly) for bringing it into the house. It’s a 50/50 gamble that you’re willing to take.

And so you go to pull it out, a private little grin on your face, just as another hand reaches across for Carrie.

Fingers and elbows bump together and you feel that slight flush of awkward embarrassment rush to your cheeks as you sputter out, “Sorry!” Your voice even goes up an octave, an annoying habit that you’ve been trying to train out of yourself.

The stranger pulls away and mutters their own low apology. They sound just as awkward as you, which makes you feel a little better, at least, so you turn to look at them and offer an embarrassed smile and you think, briefly, maybe you’ll grab Carrie for them or cheekily ask if they were going for the cleaning book--

But when you turn to look at them, all thoughts and cheek are snuffed out.

Not because the man in front of you is wearing a nicely tailored business suit and matching fedora hat; a dark gray complimented by a muted burgundy tie. Like he’s off to a meeting or comes from a big city where such outfits are often found in shops and cafes during lunch hours.

Not because the man in front of you is attractive, with red hair with a bit of ever so slightly silver sticking out from underneath his hat; his cologne, soft but spicy, tickles your nose. 

But because the man in front of you is Ren. 

Older, yes. His hair and face peppered with signs of time, just like yours. There are scars on his face that you remember--some etched onto his flesh right in front of you, and some from that gray area of before, when Strade had yet to take you--and some you don’t. 

Your body is lead, your throat is closed up. Speech and movement are now foreign, unknowable things, because Ren is standing right in front of you.

It takes you a moment to shake it off; no, two moments. No, three. 

And then you can finally speak, although the word comes out hoarse and whispered, like every ounce of spit in your mouth vanished the instant you saw him. Perhaps it did. 

“ Ren ?” 

He blinks. His eyes narrow, eyebrows furrowing. For a terrible moment, you find yourself thrown back down the basement steps, when knowing the difference between Strade’s brows furrowing in annoyance or amusement could mean the difference between the degree of your upcoming burns.

And then his expression opens, widens, just enough for you to recognize that he knows who you are now and you’re here, in a bookshop, decades on; not there, not in the basement, where you left Strade’s corpse to rot.

Ren--for he is Ren, and you know it--lifts his hat, his lips turning up in a smile that makes your heart twist painfully, and shows just the bottom edges of his ears in greeting.

He says your name and your ears ring, high and tinny. Out of the corner of your eye, you see a cashier standing at the till rearranging trinkets while clearly spying on whatever bit of vaguely interesting gossip this might turn into during their lunch break. 

You had, in truth, imagined this moment before. Countless times. Usually at night, though you weren’t terribly picky; a long trip on a bus, head pressed against the window glass, was also a great time for such thoughts. 

You’d imagined finding Ren some day, in many different ways. 

In some fantasies, you look him up in the phonebook (a stupid idea fit only for a fantasy, because Ren would never put himself out there like that, just as you hadn’t) and give him a call and meet up at a park and you apologize until your lungs stop working. In another, you run into him somewhere else, a store or park; a coincidence just like this one. In still others, he finds you, offering to meet in a public space because he knows you’d be scared and he wants you to be comfortable and Ren would definitely think of things like that, considering your shared experiences. 

In your daydreams, you had a speech prepared. It was always moving, of course. It culminated in a soft, unbearably sweet hug where the two of you squeezed out the pain from the preceding decades and parted in mutual understanding. Maybe with each other’s phone numbers on slips of paper. 

But those were daydreams. This is real life.

In real life, your throat feels closed up; your eyes burn with hot tears that want to spill out, and everything from your chest to your cheeks feels hot and swollen. In real life, it is not the daydreams but your nightmares that worm their way into your brain: those nightmares you have (yes, have, still--even this far down the line) where he hates you, where he tells you that you left him there like he’s nothing, where he throws back all your whispered conversations in the dark back in your face.

In real life, you can only stammer out, expecting the nightmarish worst: “Ren. I’m s…sorry. I’m sorry . I shouldn’t--I shouldn’t have --”

Ren raises his hand; his brows furrow again. He says your name, once, twice. Softer. Gentler. 

“It’s okay,” he says, low. You don’t know if he means that it’s okay that you left him (it isn’t, is it?) or that it’s going to be okay or that he’s okay or--

Ren must sense your upcoming lack of steady breathing, because he places one steady hand on your shoulder. The way he used to do, when you started thinking about the fact that you were going to die in that house, and it would be an awful death, and the thought of it made you want to tear into your own skin. 

It brings you back down to the ground, which only makes you want to cry for a different reason.

Ren’s face has a touch of sticky pity on it when he smiles at you. 

“Why don’t we go somewhere we can sit down and talk?” 

--

You are sitting in a coffee shop across the way from a fox man who used to be tortured with you in the basement of a serial killer's home that doubled as a snuff film studio. There are people around you, but they might as well be invisible, be nothing at all. 

Because every nerve in your body is focused squarely on Ren, sitting in front of you with a muted awkward expression as the pair of you wait silently for the barista to call up your order. 

Neither of you have spoken since you sat down.

Sweat is beginning to stick to your neck, but you don’t want to move without warning--don’t want to startle Ren. If you do, maybe he’ll run off, and… no. He wouldn’t run off now. You can tell. He’s not like he used to be, and neither are you. 

There are decades between you, and yet--and yet that thread is still there, isn’t it? You could never fully cut it. Maybe it pulled, instead. Pulled and pulled and eventually lost all of its slack on this unassuming afternoon, when the two of you met again in a bookstore. Reaching for books with cracked and weathered spines, lines creasing over the paper like scars on the skin.

Your scars. His scars. 

How many times have you traced over the marks on your skin? How many times has he? Maybe he didn’t do it anymore. Maybe he was in a much better space than you, and that’s why he looks so awkward and you feel like your heart is about to pound right out of its chest. Because he’s moved on and you, stupid thing, just woke up in the basement in the middle of a sunny afternoon.

His shoulders straighten; you imagine, under his hat, that his ears have perked. For a moment,, a familiar sensation washes through you. Danger. He’s coming down the stairs and it’s going to hurt.

But Strade is dead. And you are alive, and Ren is alive, and his attention only raised because the barista set both of your coffees down on the counter. Nothing more than that.

Slowly, the world seems like it regains its normal gravity. The sweat clinging to your neck feels silly and not ominous. You can breathe, and the world of the coffee shop seems to settle around you like it would have on any other day.

“I’ll get them,” Ren says, quietly, eyeing you with wariness–like he’s the one worried about you bolting. Fuck. He’s probably right to think that; a moment ago, you might have been the one to run.

Ren pauses after he stands up, and there’s something soft and sad in his eyes when he looks at you. Part of you thinks he’s about to say that he’s going to leave, that this was a mistake. But instead, his lips curl and the softest of smiles, and he asks:

“You still like cream and sugar?”

Oh. 

“Yes,” you say, automatically. But you don’t. Not anymore. Tastebuds change and you drink it black with no cream, when you do bother to drink it. It’s not worth correcting, and you don’t. You just watch as he grabs both cups and heads over to the counter on the far side of the coffee shop, where there’s oodles of sugars (and sugar substitutes); creamers; and little tins of milk to add to your drink. 

Then your phone vibrates, and the “fuck!” that comes out of your mouth is involuntary. It was about the time that you should have been heading home, bookstore stop  notwithstanding. What were you going to say to him? That you’d run into someone from your past that used to get tortured with you? That you remember what Ren looks like when his flesh is sliced into and pulled apart? 

You heading home? Took ground beef out for dinner. Tacos?

Your thumb hovers over the phone screen. You’re going to lie. You already know that. Even if you were ready to tell him about your past, it would not be like this. Even you, not particularly attuned to mobile etiquette, knew it was better to confess something like this in person. Although the temptation to confess it all and  add silly emojis to punctuate the gritty details was very strong.

Ran into an old friend , you type, finally. They want to hang out a bit. Tacos are fine, don’t wait up! Xoxoxo.

It feels so normal. And that’s okay, isn’t it? That you’re being normal right now. It’s a sign that you’ve come so far, if anything. And you’ll take any of those signs that you can manage to get, so when the text comes in–

Can’t wait to hear about it!

I don’t guarantee there will be tacos left. 

Kidding.

… Maybe.

–you let that normalcy wash over you, and it helps you settle as Ren returns, coffee mugs in hand.

His expression is lighter, too. He probably notices the weight off your shoulders, the way you’re trying to look interested and perhaps even excited to see him, rather than looking like you’re about to throw up on a half-empty stomach.

He slides your mug across the table and you can tell at a glance that it’s going to be sweet. A hesitant sip, your tongue curling back from the warmth and inevitable sugar, confirms it. Milky and creamy, just like you used to take it.

“Do you live around here?” Ren asks, taking a sip from his own mug.

Such an average question. It’s almost enough to make you snort. Really, you should be asking him when he got out of that basement and whether or not he ever thought about cutting you open and if he still had dreams, like you did.

Instead, he’s asking something you might ask an old high school friend that you haven’t seen in twenty years. 

Fuck. What a world you live in. 

Maybe he senses your thoughts. Maybe the two of you really are in tune from what you went through together. Because he cracks a smile, the edge of a sharp tooth showing. And then the smile spreads and turns into a little chuckle. It’s not the giggling snort he would sometimes fall into at the house. It’s something older and more reserved, but that shouldn’t surprise you. You’re the same way.

You take another sip of the coffee. It really is too sweet. That’s how you took it at the house, though. It was better to drown your sorrows in creamer and packets of sugar–pilfered from diners that Strade went to, sometimes to scope for victims–than mope about them all the time.

“I really am curious,” he says, voice light. “If you’re okay with telling me.” Something different in his tone. Offense, maybe? God, it’s strange, being on the lookout for what someone’s tone really means again. 

But it’s just Ren. You shouldn’t be so worried about it.

“It’s fine,” you say, just as light. “Yeah, maybe about half an hour away? I have a little house…”

Ren’s eyebrows raise. Not in surprise, exactly. But in interest. It relieves you, just a little, that he didn’t let out some sarcastic remark about having your own place away from him.

“Do you have a garden?” He asks. “You always did talk about getting one.”

A twinge in your heart. Bittersweet and old. Sometimes at night, when the two of you were allowed to curl up together, you would talk about a fantasy world. A world where you never came here; where you’d be and what you’d do. Sometimes, you’d be in a pretty little cottage with a pretty little garden in a pretty little town.

Well. Your garden is pretty, even if your house isn’t an adorable cottage and you live at the edge of sprawling suburbs where you have to drive 20 minutes to get to anything useful. Close enough?

You tell him about it. The house and the garden. You even tell him about your partner, and maybe his smile does quirk down a little, then. But you could be imagining it. 

“Do you have kids?” Ren asks, next. If he were anyone else, it would be a mundane question--the kind you ask every couple who's been together a while. In Ren, it feels different. Serious. Sincere. He tilts his head a little, taking another sip of his coffee, which prompts you to do the same.

Kids. Hah. It wasn’t like the thought had never crossed your mind. But it didn’t happen. For a lot of reasons, it didn’t happen. Mind and body and the basement worked against you, and maybe there was a part of you that was afraid to bring anything into the world, because you knew it could be taken away. Taken to someone’s basement and hurt and hurt and hurt –

Ren says your name.

Ren’s hand is on yours. 

You glance down at his hand–see a familiar scar, see that your hand underneath his is curled up and tense–and then look  up at his face. 

Oh, the passing of time. 

“Me neither,” he says, softly. Like he knows why you didn’t and couldn’t, and maybe he was the same way. 

It hurts too much to think about. So you clear your throat and slowly pull your hand away, letting it rest on the now cooling mug of coffee. You take another swig, despite it not being to your taste anymore. Ren really did put in a lot of creamer.

“What about you?”

His head tilts, almost slow, almost curious.

“Me?”

He blinks.

You blink back. 

“Do you live around here?” 

A smile–an Ahhh sort of smile. 

“No,” he says, simply. He shakes his head. “I travel a lot.” He nods his head. “For business.”

“Oh,” you say. “What sort of business?”

A flicker in his gaze. Something sharp and familiar. It’s gone too soon to matter. 

“This and that,” is all he says.

And there’s a strange sort of realization in your head. A fuzziness that seems to spread right to your scalp. This is all too casual, too normal. It’s not at all what it was supposed to be, when you met. Asking about homes and gardens and kids and what you do for work; fuck, you two had been tortured together. Had watched people die. Had helped other people die. 

This should have been about more than banal pleasantries. This should have been about reconnecting. About that thread between the two of you that couldn’t be cut, even now.

Maybe it’s that fuzziness in your scalp and maybe it’s the lurching of your heart, but you reach out your hand again towards Ren; your hand and your heart reaching and aching –

“Why did you run that day?” Soft and to the point. All the years have led to this question. 

The question drops your hand straight to the table. The thud feels harder than it sounds. What ease your heart had mellowed to earlier melts away entirely, and you can feel adrenaline beginning to pump, your heart pounding and racing. Your ears hurt.

Why did you run? It’s the question you wanted him to ask, isn’t it? The question that would lead to your big sappy explanation and apology and the sentimental hug before you two parted ways, perhaps with phone numbers in your pockets? 

But now that Ren is real again; now that he’s here, lines around his eyes and a touch of silver in his hair, you don’t know how to answer.

You ran because you were scared. Scared of people from Strade’s fucked up streams finding you in that house. Scared of Strade’s corpse rotting in the basement. Scared, too, of Ren. Of being chained to him, or by him, and you could never be sure which was more likely. 

You ran because you weren’t strong enough to face whatever was left behind for you in that fucking house. 

Thickness lodges in your throat but you swallow against it. This is not a daydream. This is real life. And you have to own up to what you did now. 

“Ren, I–” 

The words don’t come, because the world suddenly spins. The fuzziness prickling on your scalp, your ears ringing, your heart going too fast–this has all been too much for you, you should have known that. There are brief thoughts–heart attack, stroke, fuck, fuck, FUCK–and then Ren’s hand is gripping your upper arm so you don’t fall out of the chair. 

“Are you okay?” Your vision is clear enough to see the concern in his face. His brows furrow together and he looks around, telling someone– ”Yes, I'm going to get her home” --and you’re about to tell him not to take you to the hospital because your insurance has a high deductible for the emergency room when another dizzy spell hits you, and you’d rather be in debt than dead.

“Should I call an ambulance?” He asks, voice low, calming. Your mind latches onto it. You’re not alone, it’s going to be okay. Someone is here to take care of you, and if you have to go to the emergency room, well, it couldn't have happened at a better time.

Ambulances cost too much money, though, and Ren 

“Could you drive me?” Even as you talk, you know something’s wrong. The words come out too slow, a little slurry. Almost like you’re drunk. 

Ren starts to shake his head and your dizzy self makes a pitiful sound. 

You swear you can see Ren’s ears twitching underneath his hat. You don’t have the presence of mind to think about why–where and when he’s heard that pitiful whimper before–so you just cling to him as he gently pulls you out of your chair.

He grabs your purse and carefully leads you out of the shop. Someone holds the door open, and he tells them that you’re going to the emergency room, thank you for the concern. Your head swims and you might mumble thank you to them, too, but you’re not entirely sure. Are you dying? Is it a stroke? Will the last thing you texted the love of your life be about dinner? It’s funny in that awful, delirious sort of way.

“Ren?” You ask, helpless. You’re holding onto him as tightly as you can, but your fingers feel fuzzy. Your whole body feels fuzzy, actually. Heavy and strange. Drunk and leaden.

“It’s all right,” he murmurs. “Let’s get you into my car, all right?”

You don’t have the presence of mind to wonder why his car is already out on the curb, running, with a driver in the front seat. You aren’t coherent enough to think about things like that; but then, even before you drank the coffee cup laced with a sedative, you didn’t notice the black car following the pair of you down the road to the coffee shop. 

You didn’t notice it follow you to the bookstore, either, nor did you give it a second glance when it pulled out of the lot after you stopped in at the grocery store to pick up a few miscellaneous items.

You really had lost your touch after all these years.

Ren grips you carefully while he opens the back door to the car. It’s roomy, expensive. Clean black leather seats that probably don’t show stains. Up front, a driver sits, wearing a hat and sunglasses and a uniform.

There’s a brief thought–Jesus, what does Ren do for a living to afford this?--before Ren is helping you crawl into the backseat.

The movement only makes you dizzier, and you’re telling the person in the front seat, whoever they are, that you need to get to the nearest hospital please.

They don’t even turn to look at you. It’s strange. But then Ren is there in the backseat with you, and you’re mumbling the same thing to him. Rattling off your symptoms–dizzy, fuzzy, confused, tingling hands. You try to remember the test for a stroke but can’t.

Ren smiles at you.

Why is he smiling? That thought comes through loud and clear, but it doesn’t stick for very long.

“Ren,” you say, slurring. “The hospital, the nearest one is… I think it’s… you have to…”

And those words, difficult as they are to get out, slowly drop away. Because while your mind is not capable of many things right now, it is capable of registering something unusual.

Ren. 

He doesn’t look worried anymore. No more concern furrowing his brow, no more softness. 

Instead, he looks pleased. There’s a smug smile on his face, and you’ve seen it before, but it’s older now. Wiser. Less impulsive and more assured. 

A cat–a fox–that caught the canary. And you, what little remains of your logical mind tells you, are one dumb bird. 

And he knows that you know. Because he jerks his chin at the driver in the front, who must press some kind of button; the doors lock. Loud. Hard. Your numb hands fumble for the door handle but no matter how much you try to shove the door open, it doesn’t budge.

 You're locked in.

“Back to the hotel for now,” Ren says. Not to you. To the driver. Who–to your horror–begins to pull away from the curb.

“Oh, no–” You try to scream. It’s not quite loud enough. Not quite sharp enough. but maybe someone can see you, even through the tinted windows. Or they’ll hear you and tell someone, who will maybe tell someone else, who might call the cops. If you’re lucky.

Ren’s hand cups your mouth firmly. 

“Don’t waste your energy, you’ll need it soon.” The hand moves from your lips to your cheek, resting there. The look in Ren’s eyes is blurry–whatever he drugged you with is making it hard to focus–but you recognize bits of it, because you felt the same damn thing.

The awful mixture of nostalgia, regret and ache.

Maybe if you explain everything. Tell him why you ran. Apologize like hell. You won’t be hugging after this, but you won't be drugged up (what did he give you?) in the back of his car, either. 

“Ren– the hous e–I ran–I–let me explain, it–”

Ren’s hand trails back to your mouth. The sharp edges of his nails graze against your nose.

“Hush. We’ll talk about all that later.” 

Later?

Oh, fuck –

There’s an awful, stabbing pain in your thigh–you look down and see Ren pulling away a syringe with a bright silver needle.

Ren–you try to say his name, but when you open your mouth, nothing comes out. Your lips gape and close and words no longer form.

Your head is swimming now, all highs and lows, dipping and rising over waves that never seem to end. It’s like you're falling asleep in the worst way, hard and rocky.

Like you’re falling backwards down the basement stairs. 

Ren’s voice is the last thing you hear before you black out.

“Sweet dreams.”