#keeps the solicitors away

[fly-the-pattern]

[ash-tree-eyes]

Can you imagine being Dracula on June 25th. CAN YOU IMAGINE.

You’ve just had a busy night. You’ve gone out and done unspeakable horrors to the local townsfolk, and you’re tired. So you stow away in your little chapel in your box of dirt for the day, making sure to keep the door locked so the solicitor you’re keeping prisoner can’t get in.

Then, later that day, despite the utter impossibility of it, you are disturbed BY THE VERY SOLICITOR PRISONER YOU LOCKED OUT, IN YOUR ROOM. How did he get here? What is he doing? The door was locked.

Surely, you think, he must have broken down the door somehow, or you forgot the key somewhere. You investigate. Everything is where it should be. Nothing is broken, the key is where you left it.

No. No, what actually happened is much worse. This little English solicitor, who has never up to this point displayed any particular strength of body, and has no supernatural abilities like you do, has CRAWLED DOWN THE SIDE OF YOUR CASTLE, HUNDREDS OF FEET ABOVE THE GROUND, FROM HIS ROOM RIGHT INTO YOURS. JUST FROM WATCHING YOU DO IT. AND HE MANAGED IT. HE’S SOMEHOW STILL IN ONE PIECE.

You, a horrific creature of the night, have an equal in wall climbing, and it is a regular human man with no more fucks to give and fuelled solely by hatred for you apparently.

Dracula should have been terrified of Jonathan from the start.

[lxkeee]

MY LOVE, IS MINE ALL MINE

—PART FIVE

pairing: lucifer morningstar x fallen angel! fem! reader

fandom: hazbin hotel

genre: fluff

notes: gotta keep writing to feed the simps.

PART ONE | PART FOUR | PART SIX

Lucifer sat in his office chair, pen on one hand as he finally did the paperwork that he was procrastinating on for... A few months now, but anyways.

He was deep in thought, the fountain pen fluidly moving along with his hand as he signed the documents. Mind wandering, dissociating even.

He has a lot to think about considering that the next extermination is coming in a few days.

His eyes landed on his right hand, ring finger bare of any rings. He smiled proudly to himself, it took some work to actually remove his wedding ring and he finally did, his divorce doesn't hurt as much as it used to be. He has a lot to work on, his heart, his mind, and his actions.

He's happy that he stopped staying stuck in the past and now, he's ready to move forward. He has let go of Lilith, as the woman wanted. But he'll never forget [y/n], despite the distance and lack of communication, he still thinks of her as his best friend and he's glad she never stopped thinking of him too.

Lucifer sighs, a small smile on his face. Smiling at the thought of her. His hand once again moved gracefully along the paper, ink rolling off the tip of the pen as he signed his signature.

He misses [y/n], he longs to hug her so much.

Knock, knock.

He flinches at the sound of the front door being knocked, the sounds echoing off the castle walls. He lives alone after all, so the palace is deathly silent.

Lucifer groans, rolling his eyes.

It's probably another solicitor or another sinner wanting to have an audience with him.

Choosing to ignore it and continue with his work.

Knock, knock, knock.

There it is again, the annoying sound of someone knocking on his front door.

He exhaled, continuing his work.

They'll go away if I ignore them, just like always.

He mutters to himself, huffing in annoyance as he works.

[y/n] huffs to herself, crossing her arms around her chest. She's been knocking for a few minutes now and nobody answered.

I wonder if he's home?

She thought, standing outside the door. Hand running over the skirt of her light blue dress.

She waits for a few minutes, taking a deep breath. Trying to calm down her beating heart. Mentally practicing what she wants to say to him when she sees him.

Bringing her hand back up, forming into a tight knuckle. She knocked once more.

Knock, knock, knock.

It took so much patience for him not to break the fountain pen on his hand. Lucifer gently brought down the pen on to his table. Bringing both his hands towards his mouth and nose as he exhaled exasperatedly. Closing his eyes, eye twitching a little.

I stand corrected, this sinner is persistent.

Taking a deep breath, he finally stood up from his chair, grumbling as he left his office. Going down the stairs.

Finally arriving at the front door of his, fixing his clothes to look presentable to whoever is at the other side. Raising his guard up as he doesn't trust other sinners.

Finally opening the door, eyes closed in annoyance. “Yeah, yeah. Who's there...” his voice died down when he opened his eyes again to see a familiar angel standing on his doorway, [y/n] looking at him awkwardly, waving her hand at him shyly.

Did he go insane without realizing?

[y/n] is standing on his doorway wearing a cute light blue short dress that reaches beneath her knees, halo no longer on her head but he can tell she used it as an accessory based on the golden bracelet on her wrist. She looked as beautiful as the day he last saw her. Though, he had a tint of worry as he noticed the bandages on her arms and knees. What happened to her?

Is this a hallucination?

“[y/n]...?” he asked hesitantly, afraid that she'll disappear and afraid she's just a fragment of his imagination.

[y/n] smiled, heart beating loudly against her chest. Lucifer stood in front of her. The white suit with red accents really fits him, he's just as beautiful as she last saw him, more even.

He is really here.../She is really here...

Finally deciding to break the silence between them, [y/n] smiled at him, “It has been awhile, Lucifer.”

Her voice was enough to snap him from his thoughts and without thinking, he leaped into her arms and hugged her. Tears finally streaming down his pale cheeks. The action causing both of them to fall into the floor.

The warmth of his embrace around her was also enough for [y/n] to silently cry. She misses him so much, so many years spent without him made her incredibly so lonely.

Lucifer grips into her waist, burying his face at the crook of her neck as he sobbed.

Lucifer wonders if this was a dream at first but he was able to inhale the familiar perfume she always wore and it was enough to make him cry even more.

It felt like the universe finally listened to his pleas. He was just thinking that he misses her so much a few minutes ago and then suddenly she's in his door step.

“[y/n].... You're really here... Wait...” his eyes widened as he finally removed himself from her warm embrace, holding her arms gently.

“Why are you here...?” he asked softly, voice hoarse from crying. [Y/n] wiped her eyes with her hand but he stopped her as Lucifer summoned a clean handkerchief and gently wiped the tears off her cheeks.

[y/n] smiled weakly, “I fell.” she says with a small giggle. Lucifer deadpans, eyes blinking not simultaneously. He stood up and offered a hand to her to help her stand in which she gladly accepted.

“What do you mean you fell? When?” he asked worriedly, [y/n] smiled softly as she placed a hand over his cheek. Thumb running over the red circle on his cheek adoringly.

“I have a lot to tell you but I fell... A few days ago... Charlie found me and she treated me during it all.” [y/n] explained softly, his eyes widening. Why didn't Charlie tell him?

[y/n] can practically hear the question based on his facial expression, she smiles. “Don't get mad at Charlie, I asked her not to tell you...” she says, avoiding eye contact.

He frowns, leaning towards her so he cups her cheeks, his other hand on her chin. He tilts her head so she's finally looking at him.

“Why...? I... I could've helped you...” he asked, voice trembling. Guilty for not being there for her in her most time of need. [Y/n] gently removed his hands from her face, squeezing it assuringly.

“Because I don't want our reunion to be a sad one, I can't bear to see you so sad and I don't want you to see how bad my situation was...” she explained softly, her thumb rubbing circles in his hand. He can only imagine what happened to her based on her injuries. She's right, he might not function properly if he saw her so injured.

Lucifer sighs, shoulders dropping as he understands her explanation. But still, he wished he could've helped her more.

“But hey, I'm here now and there's a lot that we needed to catch up on. Don't you think?” [y/n] says with a giggle, a small smile on her face. Lucifer could feel his cheeks burning up as he looked at her beautiful smiling face.

Lucifer closes his eyes as a grin finally finds its way to his handsome face, “You're right, you got a lot of explanation to do.” he says, offering his hand to her in which she accepted. He pulls her inside the palace, finally closing the door behind them.

Currently, the two are in his room just catching up with one another. Lucifer's hands shined a golden glow over her arms, his angelic powers helping her heal. He listened intently as [y/n] explained what happened to her.

His heart thumped loudly against his chest as he listened how she defended hell and how she finally got under Sera's skin that led to her fall from grace.

“You really did that...?” he asked softly, his hand working gently with her arm as he unwrapped the bandages around her arm. Her arm finally healed after helping her. [Y/n] smiled softly and nodded, “I made a promise to help Charlie and Sera hid the yearly cleansing from the other angels. It was revealed during Charlie's meeting and I was mad.” [y/n] explained to him, his gentle eyes looking up at her as he healed her arm. “I said some things to her and got her mad and I was placed in a trial in which I ended up guilty.”

Lucifer frowns, softly placing down her hand onto her lap. “I wished I was there to help you.” he says softly to her and [y/n] smiled and patted his head.

“It's alright, what's done is done. What matters the most is that I'm here now...” she says, bringing her hand up to cup his cheeks.

“Yeah... But, I hope you know that I appreciate what you did for hell...” he says, nuzzling his face against the palm of her hand. Eyes half-lidded as he looked at her.

“I know and I'll do it again. I believe that the sinners deserve a second chance.” she says, her eyes landing on the many piles of rubber ducks in his room.

“On the sidenote, I see you haven't gotten over your love for ducks.” [y/n] giggles, his cheeks exploding into a bright shade of red as he felt a little embarrassed.

“I can't help it. They're just so cute.” he says with a small pout making [y/n] laugh softly.

“Don't be embarrassed about it, I'm just glad you haven't changed much.” she says smiling at him.

His eyes widened slightly and then he smiled, “I am glad that you haven't changed too.”

[y/n] smiles, turning her head to look around his room. Seeing the portraits of his family on the wall, they looked so happy. She's a little jealous.

“You and Lilith huh?” she teases him slightly, Lucifer flinches slightly and avoids her gaze. “Well... Used to, we've divorced each other seven years ago.” he says, finally looking at her.

[y/n]'s eyes widened, a frown on her face. She felt guilty bringing the topic up. “Oh... I didn't know, I'm sorry.” she says softly, her voice held a tone of regret. Lucifer smiled and shook his head, “Don't be, it was for the best.” he explained, “We just stopped loving each other, that's all.”

“How about we change the topic?” he suggested with a smile and [y/n] nodded, “Since you're here now... Do you plan to stay at the hotel or here with me?” he asked softly to her.

[y/n] blushes softly, the idea of being alone with Lucifer in a large palace seems so.... Intimate. Lucifer's cheeks also burned slightly as he realized what he just asked.

“Staying here with you? Won't I disturb you from your work?” she asked hesitantly, Lucifer shakes his head no.

“No, no, no... You would never be a disturbance to me [n/n]... I would be glad if you stayed here...” he spoke so softly, eyes pleading for her to accept.

[y/n] smiles, she can practically read him like a book. Despite being years apart, their connection never faded.

“Alright, since you looked like you're begging me to stay.” she giggled softly, looking at him with so much fondness.

Lucifer can only stare at her face, she's looking at him like he's the most beautiful being in the universe.

Don't look at me like that, I don't want to fall too fast.

Lucifer blushes slightly, clearing his throat. “I just miss you, that's all.” he says, avoiding her gaze making her chuckle, “I've missed you too.” she says softly.

“I am really happy to see you again, it's been so long.” he whispers, wrapping his arms around her. “I am so happy to be back in your arms...” she murmurs back to him. Lacing her hand with his with him squeezing her hand gently in return.

They have a lot of catching up to do, a lot of feelings to uncover.

END NOTES: the handholding before marriage finally happened lmfaoo 😭 also imma try not to make their relationship fast paced okay, awkward friends to lovers idk. This chapter feels shorter than usual, meh.

TAGLIST I:

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[dragon-kazansky]

Bridgerton shade of blue

Benedict Bridgerton x Female Reader

The Viscount is set on finding a wife this season, and you are trying again for your second season. While Anthony is dealing with trials between Edwina and Kate Sharma, you are dealing with trials of your own. Benedict Bridgerton is ever present in your life, but your pursuit to find a husband must come first. Society is ever so exhausting.

{Masterlist}

{Previous Chapter} - {Next Chapter}

Season Two

Chapter Twenty One - The one who sparkles

The next day, you find yourself at the Bridgerton house. Madame Delacroix is there with fabrics, so Violet may choose one for Eloise. Eloise could not care less about fabrics as she reads away on the sofa.

Francesca plays the piano beautifully in the background. You're standing by the piano watching her. She smiles as she plays, lost in her music. You loved that about Francesca. She was so different from her siblings.

Anthony was reading by the window quietly. He hadn't spoken a word since you got here. Not to you or his family.

Elosie and Anthony share a shirt discussion about ladies and gentlemen. Eloise finds all gentlemen a bore, and Anthony doesn't believe ladies can dance properly. His poor toes. He had spent all night dancing with no such luck as to finding his ideal wife.

Hyacinth makes a comment about how she thinks Eloise would be a wonderful diamond. Eloise looks at her youngest sister in her face and says, "I despise you."

They all chuckle.

Violet chooses the fabric she likes best, and Madame Delacroix packs her things. You don't even notice as she leaves that Benedict enters, greeting her fondly. The conversation is short, however, as Benedict's eyes land on you.

Madame Delacroix leaves.

Francesca finishes her piece on the piano and smiles at you when you clap softly. "Wonderful, Francesca. Simply, wonderful."

"Thank you."

Francesca leaves the room quietly, and you find a seat to occupy. Benedict, having been turned by Delacroix, decides to make his way over to you, but Anthony calls for him. Benedict sighs and makes his way to his brother with his sketchbook in hand.

"Are you and the modiste still, uh, making a stitch?" Anthony asks.

"Apparently not. Have you found a wife yet? Or are you planning to offend every girl until there are none left? Is mother aware?"

"Aware of what?" Violet asks, hearing them.

"I'm off to deal with our solicitor," Anthony states. "Have fun with your pretty pictures, brother."

You watch Anthony leave. Violet follows him.

You get up and take the seat Anthony was just in. You lean across the table slightly and look at Benedict.

"You're not playing with her anymore?" You ask, teasing him.

"What are you talking about?"

"Madame Delacroix."

"You know?" He asks, completely horrified by the thought.

"Yes."

"How?"

"Anthony told me. I'm not sure why. Who you fool around with is your business, not mine. You Bridgerton boys certainly keep yourself entertained." You chuckle.

"You seem rather calm about this."

"Why shouldn't I be? I'm not naive, Benedict." You glance at the others. "I'm aware of what some people do."

Benedict is stunned into silence as he stares at you. Seems there is more to you than he first assumed.

"It was just some fun," he says softly.

"I don't care." You tell him. "Do what you want, Benedict."

The smile you give him doesn't offer him much comfort.

At the next ball, the queen was expected to choose her diamond of the season. All ladies in white and gold were presented before her before moving alone. You and your mother curtsied. The queen barely glanced at you.

You both walk on.

"She did not look impressed," you commented quietly.

"She never does," your mother responds.

You sigh softly and stand off to the side. You watch people dance. Spotting the Sharma ladies, you watch them approach the queen and curtsy to her.

They walk away quite quickly. You're not sure what the queen had said, but Lady Mary Sharma didn't seem too happy.

"May I have this dance?"

You turn and find yourself face to face with a rather handsome gentleman. You smile politely and take his hand, letting him guide you to the floor.

Lord Baxtor was a friendly gentleman. He had a dashing smile and seemed very pleased to be dancing with you.

"I saw you at Lady Danbury's soiree," he says.

"Oh? I do not recall meeting you."

"No, I think not. You spent most of the evening rather close to Mr Bridgerton's side."

"Oh... Yes. I must apologise. The first ball of the season, I always find rather daunting. I find comfort in being close to friends," you tell him.

"Yes, I must agree with you. You looked beautiful that night, as you do tonight."

You smile. "Thank you. You look very dashing tonight."

He smiles.

As you both dance, you don't notice Bridgerton's arriving. Violet guides Eloise over to the queen, followed by the two eldest sons.

"Tell me, brother, is there anyone here you haven't rejected?" Benedict teases Anthony.

Anthony does not look amused.

"You're the artist. Do you see anyone remotely inspiring?"

Benedict automatically finds himself looking in your direction despite not knowing you were there moments ago.

"We shall have our diamond tonight, and I shall have a wife," Anthony declares.

The greet the queen.

Eloise manages to make the queen laugh quite loudly with a comment about emeralds.

They bow and leave.

"If the queen, in fact, names Eloise the diamond, who will you marry then, brother?" Benedict asks.

"Hush, you."

The dance comes to an end, and Lord Baxtor escorts you off the floor. You smile at him. He lets go of your hand slowly, almost reluctantly, but he is a gentleman. You watch him walk away.

This seems like a promising start, at least.

You spot Benedict across the room, and he smiles at you. You return his smile. You would go over to him, but the fanfare plays and realise the queen is about to choose her diamond of the season.

You wait with the other to see who she will choose.

"Your presence is noted, and your queen most appreciative. Allow it to now be my honour to present you the season's diamond."

The room is quiet apart from a few whispers.

"Miss Edwina Sharma."

The room fills with applause. You watch the sisters who both smile. You are happy for them. Edwina is elegant, beautiful, has a charming smile, and seems to be a very wonderful person all around.

She will certainly have her hands full within the ton.

You don't notice Benedict, who comes up beside you.

"Disappointed?"

You look up. "Hardly."

"Though, you do have an admirer, it seems."

You follow Benedict's gaze to find Lord Baxtor watching you from across the room. You smile and turn away shyly.

"Then you must make sure to keep your distance, Benedict. I don't want to scare away any potential suitors."

Benedict gazes at you with a slightly confused look. He's not sure what you mean by your comment, but he doesn't respond to it. All he sees is you looking at the other gentleman with a soft smile.

Anthony takes Edwina for a dance around the room, where he is no doubt questioning her preferences.

Kate Sharma seems very unhappy to see them together.

You, however, have a splendid evening. When Benedict realises he is not holding your attention for the night, he leaves. Lord Baxtor wastes no time in coming over to talk to you.

You do not leave his side the rest of the night.

The next morning, you sit in your drawing room with your embroidery. Tea is sitting on the table beside you, and your mother is watching the window. She will hate it if you point out how obvious she is being. With wvery gentleman she sees pass the house she gets excited, only to discover them going down the street to another.

You find it amusing. Your mother looked forward to the next season. She took great joy in all the chaos society provided. You do so adore her when she is like this.

"Is there still time?" You mother asks, coming over to the couches.

"Yes, ma'am." The butler replies.

Your mother sighs and looks around the room. She hoped she had made the house comfortable enough for visitors. She was keen to help impress a suitor for you.

There is a knock at the door, and your mother clutches the armrest beside her with a sharp gasp. The butler leaves to answer the door, and you chuckle at the way your mother begins to fuss.

The butler returns. "A visitor, ma'am."

"Let them in." Your mother stands.

You put your embroidery down and stand up alongside her. You wait a few moments and then the vistor enters. You smile.

"Lord Baxtor."

He bows his head. "My lady."

Your mother smiles from ear to ear and excuses herself to the other side of the room to watch from there.

You invite Lord Baxtor to sit with you. You both take your seats and smile at one another.

"Hello."

"Hello," he chuckles.

"I was no expecting any callers."

"No?"

"I expected them all to be with Miss Sharma this morning," you confess.

"Though she is beautiful to be certain, and I'm sure a wonderful lady, I find myself wishing to spend more time in your presence."

You blush softly as you look at him.

"I haven't stopped thinking about our dance last night," he tells you.

"Oh?"

"Have you... perhaps thought of me?"

"Yes. I must admit I have."

He adjusts his position on the sofa and looks at you rather serious. "I must ask, Bridgerton will not likely be an issue, will he?"

"Why should he be an issue?"

"As much as I love a challenge, I do not wish to be up agaiant a Bridgerton, of all men."

"He is a friend of mine, but should you wish to see where this goes, a can assure you, Benedict Bridgerton will not be a problem."

Lord Baxtor smiles. "Good. Then can I hope to escort you to the races this afternoon?"

You smile. "I would be delighted."

Your mother watches with keen interest as you used this gentlemen seem to get along quite nicely. It was a promising match if she had ever seen one.

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[see-arcane]

Thinking about how Jonathan Harker’s role as the haunted vampire hunter-archenemy has been so thoroughly pushed onto Van Helsing's shoulders. Annoying as it is to see in so many adaptations and spinoffs, I can’t help King Laughing about both the comedic and dramatic potential of this misconception as it would apply to future supernatural shenanigans post-Dracula canon

Specifically, how hilarious and/or advantageous it would be to

Have would-be enemies getting bamboozled by one of Dr. Abe’s monologues, as per rambling banter rule, only to have some soft-spoken solicitor drop off the wall behind them and kukri them in half without a word. Or,

Have our good friend Jonathan Harker constantly getting approached by people with a bad case of the Horrors, said people assuming the white-haired, haunted-eyed, knife-wielding, vampiric vendetta fellow must surely be the famous Abraham van Helsing who—by way of a game of Victorian telephone is assumed to have—‘spent a season in close quarters with a horde of vampires, injured the latter without even a holy item on his person, scaled a mountainside and traversed the Carpathians barefoot, and sent Count Dracula himself running after nearly splitting him in two..!’

All while Jonathan ‘Only Assertive Under Duress’ Harker is just sitting there, politely waiting for the chance to speak up and say, no, actually, that professor over there is Abraham van Helsing. His name is Jonathan H—

“Oh, Jonathan van Helsing? My apologies. Was it your father who did all that?”

Jonathan, sweating: “um—"

Van Helsing, not immune to a Good Bit: “No, no, it was him! My child, do not be shy on the matter of your so many harrowing feats! He brings such pride to the Van Helsing name.” :)

Jonathan, internally: (Why this???)

Mina, internally: (It keeps our name out of the wind and away from snooping supernatural ears, darling. I’d rather Mary not open the door on an angry undead horde because they knew where to find Mr. and Mrs. Harker.)

Mina, out loud, the Power of Prank Compels Her: “He really is too modest.” <3

I just think it’s a gimmick that could get some good mileage as a misdirection ploy and a feasible in-universe excuse for why Van Helsing keeps getting all the Dracula Nemesis credit

[archangeldyke-all]

Okayokayokay

Reader cussing Silco out for working Sevika too hard and letting her get seriously injured on a mission? And Sevika just sitting there like (///0-0///) and she doesn’t even try to intervene because hell hath no fury like an angry wife>:]

-🥨

this is EVERYTHING to me i'm such a sucker for the whole 'protector gets protected' trope ugh

men and minors dni

you know something's wrong the moment you hear the knock at your door.

nobody knocks on your door. sevika's always loudly clambering inside, her keys jangling loudly, the door slamming behind her-- but she never knocks. solicitors know not to come to your house-- sevika's scared them all off by now.

your fears are confirmed when you open the door and find ran on your front stoop, cringing at you. your heart drops.

"is she--"

"she's okay!" ran cuts you off, knowing how quick you'll fly off the handle when it comes to sevika. "she's fine, i just... she's sleeping it off in the bar, i wanted to come get you, tell you she won't be home for a while." ran says.

you're shoving your shoes and coat on before ran can finish their sentence. they trail beside you as you start storming toward the last drop. "what happened?" you demand.

ran shrugs. "i dunno. i wasn't there. i was just playin' a game of pool, then deckard and silco were stumbling in carrying her in their arms."

your stomach churns, and you stumble a bit. ran reaches out to steady you. "she couldn't walk?!" you ask, your voice shaky.

"singed fixed her up, got some shimmer in her system before any damage could become permanent." ran tries to placate you. "she'll be fi--"

"ran." you growl, glaring at your friend. they sigh, then wrap their arm around your shoulders, pulling you toward their chest.

they don't try to calm you down anymore. they just keep you from stumbling into people as tears make your vision blurry-- gently guiding you toward the bar.

sevika's back on her feet, nursing a whiskey and cringing away from singed as he stitches a wound on her flesh arm when you storm into the bar.

at the sight of you, her shimmer-pink eyes flash a bit and a goofy smile takes over her face.

fuck, her poor face. she's been beaten and battered, her nose swollen, her lip busted, one of her eyes bruised.

she tries to rise from her seat but she cringes in pain. you jump into action, sprinting across the bar to meet her, helping her ease back down into her stool and letting singed continue his work.

you gently cup her face, pushing her loose hair behind her ears, kissing her forehead. "hi, baby." you whisper.

"hi, baby." sevika repeats, smiling up at you. the shimmer's doing its job, keeping her happy and goofy and unaware of the needle stitching her back together. you're happy to see she's feeling alright, but you're enraged now that you're close enough to see her injuries up close.

"what happened to you, huh?" you ask. sevika giggles and shrugs like a child caught with their hand in the cookie jar.

"she got thrown through a window, fell twenty feet." singed says. sevika giggles again. you have to swallow back the bile that rises in your throat.

"who the fuck threw her through a window!?" you ask.

"a chembot at the shimmer plant malfunctioned, identified her as a threat." singed says, shrugging.

behind you, there's a muffled curse and some shuffling, and you turn around just in time to see silco trying to hide behind lock. it's too late for him, and he seems to know it, cringing the moments your eyes meet.

"silco!" you shout.

sevika huffs in her stool. "babe--" she cuts herself off when you flash her a glare, her mouth quickly shutting as her boss shuffles over to you; looking like a kicked dog.

"you care to explain to me why my wife's getting her only good arm stitched back on right now?!" you start. silco scoffs a bit.

"it's barely a flesh wound."

"oh, i'll show you a fucking flesh wound!" you growl, launching forward and narrowly avoiding grabbing silco in your clutches when ran reaches out and hooks their arm around your waist.

"i'm sorry! she's alright, she--"

"she could've fucking died!" your voice echoes through the bar. silco's shoulders slump, and you stop fighting against ran's grip. you don't stop screaming, though. "i know you've got your head so far up your own ass it's coming back out of your mouth, but there are other people in the fucking world! other people, like the love of my fucking--" you choke on your own tears.

silco at least has the decency to look ashamed. "i'm sorry." he whispers, sincerely.

you take a deep breath and collect yourself, before gulping and speaking clearly. "i need you to hear me clearly when i say this. the next time you decide to treat my wife like she's disposable, i will burn down this bar, i will burn down your shimmer plant, and i. will fucking. kill you." your hand is shaking at your side.

somewhere behind you, thieram lets out a whistle and a quiet "damn."

"understand?" you ask, rasing an eyebrow at the man in front of you. silco looks shocked. there's a bit of begrudging respect in his gaze, but it's mostly just surprised intimidation.

"i understand." he confirms, his voice squeaking as he nods.

you nod, then turn to look at singed. "is she good to go?"

"keep her hydrated, give her half a vial at every meal." he says, nodding and handing you a handful of shimmer vials.

"good. we're going home. i'll send her back to work when she's healed." you say over your shoulder as you start to storm out of the bar.

you catch your reflection in the mirror behind the bar-- you're barely recognizable; the rage coursing through you making you look almost... scary. you look over your shoulder back at your wife.

she's sitting in her stool, stars in her eyes as she grins at you. you snort, just a bit.

"c'mon, baby." you say, reaching a hand out and motioning her toward you.

she's out of her stool so fast it topples over and hits the floor with a clatter, sprinting over to get into your arms.

you giggle, catching her as she trips over her own feet, still a little goofy from the shimmer and whiskey, and press a quick kiss to her bruised cheek before wrapping an arm around her waist, pulling her arm over your shoulders so you can support her weight as you start your walk home.

when the pair of you brush past silco, sevika giggles and shrugs, mouthing a 'sorry' to her boss.

when you push out into the street, sevika doesn't let you get more than three feet away from the bar before she's pulling you in for a breath taking, slightly bloody tasting kiss.

it catches you completely off guard, and you're grinning and out of breath by the time sevika pulls away. "wh-what was that for?" you ask your wife.

she's grinning at you. "that was the hottest thing i've ever seen in my life." she says. you snort, and sevika shakes her head. "i don't think you get it babe: i've been workin' with silco for ten years, he's had knives and bullets and bombs thrown at him, and he doesn't bat an eye. but that in there? i think he mighta shit his pants a bit!" she's cackling.

you smile, your worry and anger fading a bit at the sight of your wife laughing.

she's okay. she's alive and happy and doubling over in front of you, holding her side as she cackles.

you sigh, and lean forward to kiss her cheek. "i meant it, you know. i dunno what the fuck i'd do if something happened to you."

"i know." she says. "'s what made your threats so scary, you actually mean it." she giggles. you huff and flick her shoulder, and her smile shrinks, just a bit. sevika leans forward and kisses your forehead. "nothin's gonna happen to me. i'm indestructible, you know that." she promises.

you pout up at her, still worried. sevika kisses your lower lip, and you can't help but smiling a little.

"besides. i'm pretty sure silco's gonna hire me a bodyguard just to make sure i get home safe to you every night, after that." she teases. you cackle, and tug your wife toward home.

taglist!

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@shimtarofstupidity @chuucanchuucan @badbye666 @femme-historian @lia-winther

@ellsss @sevikaspillowprincess @emiliabby @sevikasbeloved @hellorai

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@sevsdollette @ellieslob @xayn-xd @keikuahh @maneskinwh0re

@raphaellearp @iamastar

[serial-serializednovelreader]

Another adorable Jonmina thing I noticed (and I’m going to keep noticing them) is that Jonathan was definitely being put into some kind of trance by Count Dracula when they’re on the way to the castle. The endless stops, the circling back, the wolves, etc. I don’t know exactly how, but I think it was to lull Jonathan into a state of exhaustion or panic he couldn’t get out of so he’s more susceptible to suggestion and doesn’t notice anything off about his surroundings at all. Or he does, but he’s too scared to fight back against it, it’s unclear to me which (I’m sure y’all have a better idea!).

For the most part it works except…that’s right, folks!!! He remembers Mina again.

“Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner? Solicitor's clerk! Mina would not like that. Solicitor—for just before leaving London I got word that my examination was successful; and I am now a full-blown solicitor! I began to rub my eyes and pinch myself to see if I were awake.”

Remembering Mina, while it doesn’t take away his fears entirely, does make him pinch himself to wake up and remind him why he needs to get out of there. Plus, it keeps him observant enough to notice that the Count and the driver almost seem like the same person…hmm. He might’ve noticed it regardless, but who’s to say?

Also, I find it cute that he remembers her in a sense of her hyping him up like “no Jonathan!!! You’re a solicitor now! Give yourself the right title.”

Just…THEM!!!!!

[gloomwitchwrites]

Tattoo Artist Simon "Ghost" Riley x Female Reader

Chapter Specific Warnings (per the warnings MDNI): canon-typical swearing, emotional hurt/comfort, angst, heavy suggestive themes, lots of kissing, intimate touching, domestic!Simon

Word Count: 8k

A/N: Part Nine of Ink & Needle

Evie fractures. You spend the evening with Simon in his apartment. An unwanted caller makes contact.

Chapter Eight // Chapter Ten

ao3 // taglist // main masterlist // ink & needle masterlist

The excitement of the day is starting to set in. Everything was a whirlwind this morning, and only now, in the quiet of the kitchen in Evie’s Cambridge home, is it all beginning to catch up with you.

The continuously growing list of things to do is as messy and vast as the scattered assembly of carryout boxes on the kitchen island. Most of it is Chinese takeout boxes—which, to your disappointment—is not like American Chinese takeout at all. Evie thought it hilarious when you began opening boxes only to discover multiple containers of curry sauce and mushy peas. Greasy burgers were ordered and consumed instead. Now, as you begin sifting through the mess, tossing containers into a trash bag, exhaustion is showing its teeth, reminding you just how hectic it’s been.

Outside the patio doors, the sun is low, it’s beams hardly breaking over the natural hedge fence along the property line. The lights above the kitchen island and stove are on, adding to the low, warm glow of the evening sun. Scattered across the countertop behind you are various stacks of paperwork. You and Evie need to go through all of it, but you’re unwilling to burden her with too much.

Evie is still grieving, and she’s eight months pregnant, quickly approaching nine. The only thing Evie needs to worry about is getting plenty of rest and the upcoming labor. She doesn’t need to fret over conversations with the estate agent or Archie’s solicitor. Not to mention the fact that the solicitor brought up potential troubles with Archie’s family, indicating a barrister might be needed if they decide to fight over Archie’s money. That did not reach Evie’s ears. Those people have already done enough, and if you can, you’ll keep their poison away for as long as possible.

No. The main concern is Evie’s pregnancy. With the move to London, all of Evie’s medical history has to be transferred to her new hospital and doctor. It’s incredibly close to the due date for everyone’s liking, but it can’t be helped. Evie won’t be giving birth in Cambridge.

Sighing, you toss yet another empty container into the bag, purposefully keeping your back to the stack of papers. You offered up the idea to the estate agent of selling the place fully furnished to which you were quickly dismissed. Frustrating, because it means your job becomes much more difficult, but understandable. People want to make new memories. They don’t want to cling to someone else’s old ones.

Over dinner, you and Evie discussed how she wanted to clear out the house of her belongings. Sell it? Donate it? Put it in storage? Take it with her? There wasn’t a true decision but there was an agreement on beginning the process.

It’s a start. It’s something.

Tomorrow, Friday afternoon to be exact, you and Evie are heading back to London. It’s a quick turnaround, but you’re eager to return and see your wraith. Just thinking of him, speaking his name in your mind, is enough to swirl the quietly simmering heat in your belly to a healthy boil. The warmth that arrives with Simon’s name spreads to your toes and throughout your limbs.

Smiling, nearly giggling, cheeks fevering with the memory of his kisses from Monday, you lightly press the tips of your fingers to your lips, floating in the memory of how they tasted his skin.

Then, you remember where you are. And what you’re supposed to be doing.

“Get a fucking grip,” you mutter under your breath, stuffing the last of the takeout boxes into the trash bag.

When you return from tossing the bag into the outside bin, you wash your hands before reaching for your phone. In the group chat with Jade and Sam, you give them a quick update, silencing your phone afterward, plugging it in to charge for the night.

Evie is upstairs somewhere, likely rummaging around in things she shouldn’t be. She has a knack for that, doing things without asking for help, believing that doing so is a sign of weakness. It’s that American Midwest can-do attitude. Independent and self-sufficient. A good ole’ Missouri girl. That’s Evelyn Green.

Rubbing at your right temple, you head upstairs, aiming for the master bedroom. The door stands open, and as you approach, you stop short the frame when you hear a choked, strangled sob.

“Evie?” you call out.

You listen intently, not sure if you’ve misheard. But you hear it again, a pained sound that sounds more injured animal than human.

Cold fear twists your stomach, drags it down to the floor, stomps all over it and grins.

“Evie!”

Shoving through the door, you don’t find her anywhere. Scanning the master bedroom, you notice the scattered clothes across the bed and the rumpled sheets. But the room is dark. The only light comes from the walk-in closet. Its angles are sharp like a blade and you fear the worst. What if she’s fallen? Surely, you would have heard the crash, or a solid thump?

Heading toward it, the rising fear intensifies until it lodges in your throat, waiting to emerge like a striking snake.

You step into the beam of light.

Sitting in the middle of a large pile of clothes is Evie.

She’s bent over, at least, as bent as her belly will allow her to be. Her pale cheeks are slashed with red and tear-stained. Her shoulders shake with every sob, each one appearing painful. And, in her hands, she cradles a little beige box.

The lid is off. The white ribbon on the top is yellowed and brittle. It rests to the left of Evie’s right foot on one of Archie’s button ups. Within that little beige box is a boutonnière. It’s Archie’s boutonnière. The one he wore on their wedding. It’s dried out now, more potpourri than flower, a silent witness to Evie’s suffering.

“Oh. Evie,” you sigh, going down on your knees in front of her, your hands outstretched but not touching, unsure of how she’s needing comfort.

She glances up. Chokes. Hiccups. “He’s gone,” she whimpers, and all you want to do is absorb her pain.

“I know,” you murmur. “I know, Evie. I’m so sorry.”

“He—he’s gone.” Fresh tears form in the corners of her eyes. They quickly compound on each other, rapidly filling the bottom of her eyelids. “He’s gone and I—”

A gut-wrenching sob rips from her. Like someone is reaching down her throat to tear out her vocal cords.

With extreme gentleness, you place one hand on her shoulder. The other cradles her hand holding the small beige box. “Evie—”

“He’s gone!” she wails. “And this is all I have left!” Evie gestures around at the clothes.

“You have so much more than that,” you soothe, lightly rubbing her shoulder in slow circles.

But Evie is shaking her head, sniffling hard, sucking up all the phlegm that threatens to slip from her nostrils. She’s a mess. A cacophony of a storm.

She glances up. Stares at the ceiling of the closet. “What happens when I start to forget his face?” Evie turns her gaze to you, the defeat and sorrow there sharp enough to shred the soul. “What happens then?”

“You won’t,” you insist, grasping the sides of her face. Strands of her dark hair stick to her tear-stained skin. Your brush them out of the way. “You love him, and the memory of that love is enough.”

Evie keeps shaking her head. “I can’t do this,” she murmurs, cradling her belly with one hand. “How do I do this without him?”

“You can, Evelyn Green. And you’re not alone. You have me. And Amelia. Jade. Sam.” With the pad of your thumb, you remove a few falling tears from her cheek. “This baby will be surrounded by love. She’ll never be without. She will always be safe. And when you tell her stories of her father, all she’ll know is how much you love him, and how much he wanted to meet her.”

Tears spillover to paint Evie’s cheeks as she leans into you. You wrap your arms around her, pulling her close, offering your shoulder to rest her head on. Neither of you talks, and this isn’t your place to say anything at all. This is for Evie, and whatever she needs.

Keeping one hand clutching the beige box, Evie reaches up with the other, fingers wrapping around your forearm. Digging, digging in where they land and are sure to leave little half-moons behind. Fuck it. You hardly care. You’re too focused on keeping her aloft, on being Evie’s anchor where she has none.

You won’t allow your friend to sink.

You stay like this until your knees hurt and your lower back aches. You stay like this until Evie signals she’s ready to let go with a gentle squeeze of your arm. As she pulls away, Evie wipes at her eyes. She still clings to that little box, but she needs rest, and you know she’ll never forgive herself if she takes it to bed with her and crushes it.

Placing both hands around the box, you silently implore her to let go. Evie does, hesitantly, and you lay the precious cargo on the ground. Presenting your hands, you put Evie to bed, keeping watch until you’re certain she’s truly asleep and not faking it for your benefit.

Only then do you return to the closet. Only then do you lift the little box from off the floor to carry it downstairs and set it next to your charging phone. Going to the mantel over the fireplace, you select your favorite photo from Archie and Evie’s wedding day. It’s a simple one, but the love oozes from it, sticks in between your teeth to blissfully rot away the enamel.

In the photo, Archie and Evie look at each other and not into the camera. It’s not staged. Just a moment caught when they thought no one was looking. A moment special only to them. Taking it to the kitchen, you rest it next to the box holding Archie’s boutonnière.

By the time you crawl into bed in the guestroom, it’s close to morning.

The few hours you manage to snag are not nearly enough. And when you awaken, you realize quickly that there is no amount of coffee in the world that can save you. Dragging yourself from bed, you clean up the clothes Evie left on the floor of the closet without disturbing her. Down in the kitchen, you make breakfast and place several phone calls. Nearly all of them are to Archie’s solicitor and the estate agent.

You’re exhausted. Fucking gone, but you have to do this for her.

Evie doesn’t drag herself out of bed until almost noon. By that time, the two of you need to start heading back to London. You take the driver seat, and Evie sits passenger with the little box holding Archie’s boutonnière and the framed photo resting in her lap.

“Simon came to see you,” are the first words out of Amelia’s mouth when she greets you.

“He did?” you squeak, nearly dropping the bag you just removed from the trunk of the car. Excitement and giddiness blooms in your chest.

Simon came to see you. He came…to see you.

But why would he not? He chased you down. Pursued you. Looked for you relentlessly. Of course he’d come by. You know this.

After visiting him at 141 Ink on Monday morning, you stopped to grab some groceries before heading home. Amelia and Evie nearly tackled you when you came through the door, both of them eager, pecking like annoying hens, seeking information. Too embarrassed to admit that you’d straddled him in front of the big window and sucked on his neck, you glossed over the more intimate moments much to their frustration.

Amelia had popped open a bottle of wine afterward and asked you if you knew anything about his history in the military. In all honesty, you know very little, just what he mentioned that morning. Thinking about it now, you truly don’t know anything concrete about your wraith. Physical chemistry is a good thing to possess, but that won’t last if there is nothing else to connect to.

Amelia already appeared to know this, and mentioned that you might want to take a delicate step with him in that area. “A bad injury” is what she said, but Amelia didn’t know any of the details. Then again, Amelia might know, and was only considering Simon’s privacy.

“Oh, yes. He was here. Burst through the backdoor and yelled at me for forgetting to lock the front one.”

Evie’s head pops up above the top of the car. “He yelled at you?”

You glance at Amelia, unbelieving that someone like Simon would raise his voice at her.

“Oh, posh,” she says, waving her hand dismissively. “Perhaps yell is a strong word. Growled. Said with irritation. Better?” Amelia shrugs one of the bags over her shoulder.

You and Evie exchange a knowing glance.

Could you go see him tonight? You consider the options. You could stay here and have dinner with Amelia and Evie. Or, you could go see Simon. Enter his shop while he’s working, observe him in his elements. And afterward—

“Are you all right? You look like you’re about ready to faint.” Amelia’s voice snaps you back to reality.

Shit.

Evie stands slightly left and back to Amelia. She’s grinning, knowing exactly where your mind drifted off to.

You smile awkwardly. “I’m fine. Just surprised.”

Amelia makes a face like she doesn’t believe that for a second. But she shrugs, not commenting about it. “You should visit him. It’s Friday. Make a night of it.”

“Are you sure?” you ask hurriedly, not wanting to sound too eager.

Amelia scoffs. “Evie and I will be perfectly fine.” She turns to Evie pointedly. “Won’t we?”

“Perfectly peachy,” winks Evie, shimmying her shoulders suggestively at you before following a cackling Amelia inside.

Your grab several more bags as if one less trip will truly cut into seeing Simon time. Then it’s done, and you’re nearly sprinting up the stairs for a shower and a change of clothes.

“How do I look?” you ask around your toothbrush, turning slightly so Evie can see every angle.

Evie glances up from her phone and grins. “If Simon isn’t all over you the moment you walk through the door, he’s a fucking idiot.” She points at you with her phone. “And you can tell him I said that.”

You snort, and then cover your mouth quickly. Evie laughs too but it’s more of a wheeze and that only makes the strangled, airless sounds you both make that much worse.

“Oh shit,” hisses Evie. “I peed. Thanks, bitch.” She half-rolls, half-flops out of the bed and starts waddling toward the bathroom.

“You’re welcome,” you call out to her retreating back.

Evie holds out her middle finger before shutting the bathroom door. Pulling on your coat and grabbing your purse off the top of the dresser, you head downstairs to slip on your boots.

Every step you take toward 141 Ink is light. Unhurried. It’s easy. Yes, you’re anxious, but that’s only because you’re eager to see Simon, to feel his hands on you, and forget yourself for a bit in his embrace.

As you near, that nervousness starts to slither up, blooming like a poisonous flower. Beautiful, but deadly, waiting for you to consume it. The black and eggplant-purple exterior come into view and that only amplifies what is already screeching under your skin.

“You’ve got this,” you tell yourself. “It’s fine. Calm. Down.”

Your heart and brain and limbs won’t listen. It amplifies further as you reach for the door.

Pushing it open, you’re met with warm air and the scent of pine underlined with the faintest hint of sterile cleaning solution. There is no soft chime when the door opens, but it might have been swallowed up by the music. Heavy metal rushes out from the speakers. It’s not overly loud, nothing that would damage the ears, but it’s certainly loud enough to muffle a conversation. You’re curious if this is Simon’s choice, or if it’s the customer currently in the tattoo chair.

Your glimpse of Simon and his client is brief. Immediately upon entrance, an all-black German Shepard leaps off the couch and greets you, tail wagging so fast it stirs up the air creating a breeze.

“Hello, Bravo,” you croon, scratching under his chin and then between his ears. Bravo leans into it, his tongue lolling out the side of his mouth in perfect contentment. “Good boy.”

When you straighten your back and glance up, you notice Simon in the back of the room next to the tattoo chair. He sits on a small stool with a black cushion on wheels. The person receiving their tattoo is on their stomach, back presented to Simon as he works. He hasn’t noticed you yet. He’s completely lost in his craft.

You take this time to observe him, standing there in the entrance of his parlor while Bravo aggressively licks the inside of your hand. Simon isn’t wearing a jacket, only a black t-shirt with short sleeves. It fits him snuggly, clearly hugging every muscle. Both tattoo sleeves are on full display. One is solid black. The other consist of various images and symbols that all interweave around each other. Other than the black t-shirt, Simon wears black joggers and sneakers.

Simon sits up a bit, rolls both shoulders. The muscles in his arms flex with the movement. Your wraith is all power. There is so much strength there, and your brain conjures up the memory of Riot Room when Simon lifted you effortlessly, held you aloft as he brought your bodies together over and over again.

He dips the tip of the needle into the ink, bends forward, returning it to the skin. Returning to his work. You desire closeness, to admire the art as he’s creating it on the man’s back, but also don’t wish to disturb his concentration. Watching him in his natural elements is peaceful. All that earlier anxiety is suddenly gone.

When Simon reaches for the ink again, Simon finally glances up. The moment your gazes lock, he freezes, hovering in a moment of stasis. It breaks, and Simon starts to stand, his arm extending outward to turn off the tattoo gun.

Nope. No. This is not what you want. You’ve disturbed him, throttled his concentration.

You shake your head vehemently, holding up both hands, pointing at the couch in the waiting area. Bravo lightly headbutts your thigh, clearly upset that you’ve taken away your hand for him to lick.

Simon holds his position. Knees slightly bent, legs just starting to extend like he’s ready to leap up at your request. Moving quickly, you settle yourself on the couch, Bravo jumping up next to you, snuggling down onto his belly, his large head plopping into your lap.

Only then does Simon sink back onto his stool.

The distance between the two of you is too much for your liking, but you know the feeling is mutual. Simon’s gaze is heated, and his body, which at first faced the client in the chair, is turned in your direction. Those dark, gorgeous eyes of his linger. They drag up your body, and back down again. Simon is taking his time, and under that wanton stare, you feel bare. Exposed. Chest cavity broken up and strewn out. Vulnerable.

It's unnerving. And yet thrilling. It’s how you felt when you first accepted his offer at Riot Room, when you off-handedly brought up the proposition and Simon made sure to end it.

His gaze remains a few seconds longer before Simon finally returns to the man lying face down on the chair. With one hand on top of Bravo’s head, you press the other hand to your cheek. It’s hot. Feverish. And you suddenly notice the growing slickness between your thighs.

Attempting to shift focus, you give most of your attention to Bravo, talking softly to the dog about your day, lulling the massive hound to sleep.

Even like this, you can’t help but notice all the times that Simon consistently glances up from his work, gaze focused in on you like you’ll somehow disappear. Sometimes it’s a quick one-two and he’s right back in it, set in on his work. Other times, he draws it out, as if silently telling you that he sees you. Those glances seize your heart, wrenching it right down into your stomach.

Once Bravo falls into a gentle snooze, and you have nothing else to direct your attention toward—except Simon’s lingering stares—you opt for productivity. With no idea how much longer Simon has with his client, you slip your phone out of your coat pocket and start catching up on work emails. Several deadlines are approaching quickly, and you’re terribly behind. You need an afternoon to yourself to simple work without interruptions. But that’s been difficult, especially when most of your time has been devoted to Evie.

“Done.”

Your head snaps up at the sound of Simon’s deep timbre. The client stretches, half-rolling half-stumbling to his feet.

Simon gestures for them to turn around. “Back to the mirror,” he instructs.

From off a rolling cart, Simon snags a hand mirror, presenting it to the client. It allows the man to admire Simon’s work. You have a clear view of the mirror. It’s just an outline, but it’s massive, covering the man’s entire back.

“Color and shading will take a couple sessions,” says Simon. “What do you think?”

You don’t catch what the man says, but you do hear Simon’s amused chuckle. He takes the hand mirror and places it on the tattoo chair. The two of them talk for a bit as money is exchanged and Simon hands him a care packet. The client shrugs on his shirt and coat, heading for the door.

As he approaches, he slows, noticing you on the couch. The corner of his mouth turns upward. He pointedly takes his time opening the door, a flirty smile on his face aimed at you as he steps out onto the street.

When the door clicks shut, you glance at Simon. His fists are clenched, hanging at his sides. Those dark eyes of his are bullets, ready to kill, completely fixated on the shut door.

“Simon,” you call out softly, a little of your worry slipping in. His gaze immediately adjusts, moving to you, softening entirely when he takes you in.

He tears off his black latex gloves and tosses them into the trash, already striding toward you as he does so. Bravo grumbles a protest as you bolt upward and off the sofa. You don’t even make it halfway to Simon before he’s on you, grabbing at the back of your neck and your waist, pulling you in for a kiss.

There isn’t a chance for you to push up the balaclava. And Simon doesn’t appear to care. He kisses you through the rough material, and you giggle against his cloth-covered lips.

“Simon,” you laugh, pushing lightly on his chest with your palms, voice slightly muffled from the balaclava.

He pulls back just enough to give you the faintest bit of breathing room. Then, he’s shoving his balaclava up to his nose, revealing those gorgeous lips of his. They are there and gone quickly, Simon already reclaiming what is so rightfully his.

You open and Simon slips his tongue inside, fingers digging roughly into the back of your neck, drawing you closer. This kiss is desperate. Needy. And so full of emotion that when he draws back, you’re momentarily breathless.

Simon’s smile is soft and you easily match it with one of you own. “Amelia told me you stopped by,” you murmur.

“You went to Cambridge,” he states. It’s not a question, and that gives you pause.

You nod. “I did.” You do not elaborate or give him an explanation. The situation with Evie is…complicated. While you wish to tell Simon everything, you also don’t want to unload, to dump all your worries onto him without warning.

“Do I have you for the evening?” he asks, hopefulness laced within the words.

A creeping sadness wiggles in. Simon cannot have you for the whole evening even though you’d love nothing more than to stay the entire night. But you won’t allow the disappointment to make a home. You are still here, with him, and that is enough.

“You have me for a few hours,” you answer, waiting for the discontent on his end.

It does not come.

Simon’s thumb traces the length of your throat. His smile is still there. Unchanged. “Do you want to join me upstairs?”

“Upstairs?”

“To my flat. For a drink.”

“Oh.”

“If not it’s fine,” says Simon quickly. “I understand. Quieter than one of the pubs.”

You nod eagerly, popping up on your toes. “Yes,” you breathe. “I’d like that.”

Going upstairs to his flat means that you and Simon will truly be alone. And that singular thought, one that speaks to uninterrupted pleasure, starts a thrumming in the lower recessives of your belly that only moves farther south with each passing second.

“Good,” he sighs with relief.

Did he think you’d say no? Is Simon just as nervous, just as eager to want to be with you?

Have you not thought about me? Not once? Because I’ve thought of you. Every day.

And what if I wanted it to be more? What if I still want it to be more?

Of course he does. Of course.

“Just need to,” he gestures to the room. “Close up.”

“How can I help?” you ask.

Simon thinks for a moment. “Floors?”

“Done.”

The two of you work in tandem, moving through the motions in a natural, domestic dance that seems so normal and so routine that it doesn’t feel odd. It’s comfortable. Cozy. Like you could live this life easily and not regret a single moment.

When the floors are cleaned, and surfaces are sanitized, Simon shuts off the main lights, locks the front door, and arms the alarm system.

Simon doesn’t say anything. Just overs his hand to you, palm upward.

There is no hesitation on your end.

Gently, you take his offered palm, admiring the little tattoos on his fingers as they fold over your hand. Simon guides you to a door you’ve never noticed before. It’s blocked off by a curtain, and when Simon opens it, the two of you step into a narrow hall. To your right is a door that leads out to the sidewalk. To your left is a staircase heading up to a landing.

Simon’s grip on your hand tightens as if you’ll make a run for the street. He does this sometimes. You’ve noticed these tiny gestures where he seems to cling a little too tight, and you question whether it’s a need to feel close to you, or anxiety.

Remembering what Amelia told you the other day, that you may need to be gentle with him, that Simon had a bad injury, you consider how that might influence someone. How it might change their perspective on things.

You return his tightened grip with a gentle squeeze of reassurance, silently prompting him to take the lead. Simon does, bringing you to the top of the landing. The front door doesn’t have a traditional lock but a passcode. Strange. Completely odd. But, then again, Simon is ex-military. Old habits?

Simon punches a series of buttons and the little red light on the top righthand side turns green. The audible sound of gears turning and locks—definitely plural—unlatching reaches your ears. Simon pushes down on the handle, and then you’re inside, Bravo right on your heels.

You’ve never thought about what Simon’s space might look like. Perhaps you figured it would be like any other bachelor pad. But Simon’s home is warm, and has a similar feel to the tattoo shop downstairs.

The interior is industrial with brick walls and exposed grey-black pipes running along the ceiling. The floor is hardwood, a deep, rich brown. To your left is a kitchen and dining area. All the cabinetry is black, the countertops butcher block, and the appliances stainless steel. To your right is the living room. The television is massive, and the sofa is large. You easily picture yourself and Simon snuggled on it, watching a movie.

Directly ahead of you is a short hallway. It branches left, disappearing to a place you cannot see. But you do notice an open bedroom doorway to the right of the end of the short hall.

“I have whiskey.”

You glance away from the doorway and find Simon. He nods toward a small bar next to the dining table. He’s right. There is only whiskey there. “Then whiskey it is.”

Simon laughs softly and grabs two rocks glasses. His gaze scans over the various bottles. Finally selecting one, Simon lifts it from its perch. Removing the cork, Simon pours a double on both. He brings your glass to you, and you take it with both hands, glancing down at the amber liquid.

This will hit you hard. You haven’t eaten since lunch.

“Are you hungry?” asks Simon, as if reading your mind.

“What?” you blink, looking up.

“I can order us something. Or I could cook.”

“You cook?”

“I’ve perfected a few meals.” Simon shrugs. “And instant ramen.”

“Instant ramen?” you ask, deadpan.

Simon crosses his arms over his chest, the whiskey in his glass sloshing slightly as he does. “And other things.”

“Are you sure? You don’t have to.”

“I want to,” he says automatically.

He wants to do this. He wants to do this.

“Okay. Yeah.” You nod. “You pick. Cook’s choice.”

Simons starts to turn away, but promptly returns, holding up his hand like he’s about to say something. He pauses, and sets his whiskey down. “Hold on.”

“Holding,” you say to his retreating back.

Simon disappears for a minute and reappears clutching a stack of papers. At first, you’re confused, but as he draws closer, you recognize them for what they are.

They’re pages out of a sketchbook, and there isn’t just a handful. Simon has to be holding as least a few dozen individual pieces of paper. And that’s not even the most startling thing. It’s the way he’s holding them, almost nervously, his thumbs rubbing the pages in an anxious tick.

Simon presents the stack to you. “Couldn’t decide on what I liked best.”

Your whiskey glass is on the dining table in an instant. Fingers itching, you gently take the papers from him. Already, from the very top sketch, you’re awed by the artistry. You don’t even look as you sink down into a chair. Placing them on the table, you begin to fan them out in a wide arc.

“These are lovely, Simon,” you murmur, captivated by how creative his mind is.

“You don’t need to select one today. Take a look and pick what you’re leaning toward.”

Quickly, you sift through them, spreading them out across the table, dividing them up to make the process easier. It’s almost overwhelming. Some of the pieces are similar, but most of them are entirely different. Completely unique.

As you start through your first organized stack, Simon is already in the kitchen, a large pot of water on the range. Before him on the countertop is a small pile of flour. He makes a well, cracks three eggs into the center, and the smallest splash of water. Taking a fork, he starts to whisk.

Is he—no.

You hold a paper in each hand but you’re not even looking at the artwork. You’re watching Simon make pasta. Fucking pasta. From scratch. And he’s not breaking a sweat. He looks so goddamn casual it’s almost maddening.

Bravo sits at your side, but all of his attention is on Simon. He licks his chops periodically but is otherwise statuesque. Your wraith wraps up the dough and sets it aside, quickly cleaning up his mess before retrieving a large frying pan, cutting board, and sauce pot.

Glancing between the artwork you pick up and Simon’s movement in the kitchen, you start to see a different side of him. Garlic, onion, fresh basil, and grape tomatoes are tossed into the sauce pot. Oil is drizzled into the large pan. Chicken breasts are pounded out, made thin, and then coated in breadcrumbs.

You at the table. Him in the kitchen, cooking you dinner. Nothing planned. Just present and existing, content with each other’s company.

By the time you’ve sorted through all the sketches and selected ten you’re leaning toward, Simon is rolling out the dough, cutting it into long strands, depositing the homemade spaghetti into the salted boiling water. The chicken cutlets are finishing under the broiler, topped with chunky tomato sauce and cheese.

Bravo’s no longer sitting but laying down. He’s still alert to everything happening in the kitchen, but Simon is meticulous, dropping nothing for Bravo to vacuum up.

“Simon?”

“Hm?” He briefly glances at you over his shoulder before returning his attention to the pot of cooking pasta.

You lick your lips, pausing before asking the question. “How did you get the tattoo shop?”

The tongs Simon holds hesitate before dipping into the water. “Part of my retirement,” he answers. Cooked pasta and leftover sauce are tossed together.

“Military retirement?” He nods but says nothing. You’re not sure if this will be too sensitive to ask, but you’re curious, and Amelia’s words from earlier in the week keep grating on your mind. “What did you do to earn you an entire tattoo shop at retirement?”

Simon divides the pasta up between two plates. “Early retirement from an injury. Got me this flat, too.”

Early retirement? An injury? What the fuck happened to him that the government would give him enough money to afford all this? That is unheard of, at least by American standards. You couldn’t say for certain what it’s like here, but it couldn’t be much different.

You sip on your whiskey, the amber liquid burning smoothly on the way down. “So you didn’t plan on becoming a tattoo artist originally?”

Simon shuts off the broiler and removes the breaded chicken cutlets. Placing them on a fresh cutting board, Simon slices them quickly, transferring one cutlet to each plate. “I was military.”

“I know,” you say quickly. “But—did you ever think about after?”

Opening a nearby drawer, Simon grabs two knives and two forks. “Sometimes.”

Why is he being so evasive? Was the injury that bad? Thinking on it, you do recall several scars. There is the one running along the edge of his jaw. That one is clear to the eye. The other scars you noticed were hidden under the ink.

Simon picks up the plates and you hastily clear away the sketches, piling up the ones you didn’t select.

“Find anything?”

“These.” You gently push a small stack toward him.

Simon doesn’t even look at them until your plate is in front of you and you’re holding the silverware. Social norms and general social expectations might say to be dainty when with a new romantic partner, but the food in front of you is begging to be devoured. Simon made this for you to enjoy, and you’re going to do just that.

And Simon doesn’t appear to give a shit anyway. With one hand, he’s cutting through his chicken. The other is spreading out the sketches you selected, his gaze entirely fixed on the paper. He takes a bite of his food. Chews. Lifts a sketch up to study it.

You tuck in, eating but silent, observing every twitch and change in Simon’s expression. There are few of note. You have no idea what he’s thinking. Is he conjuring up new sketches already? Is he itching to pick up his pencil or charcoal or whatever he enjoys working with and starting immediately? Is Simon surprised by your choices?

The strongest reaction you pick up on is the arch of a singular eyebrow.

Eventually, he nods, seeming satisfied. With one hand, Simon neatly situates your selections into a stack, setting it aside. Your plate is nearly empty at this point, inhaling the meal like an addict.

Simon settles into his chair, his gaze fixating on you. “Why’d you go to Cambridge?”

Does Simon mean to make it feel like an accusation?

“I went for Evie,” you answer.

“Your friend.”

“Yes.”

“That’s why you’re here?”

“In London? Yes. I am.”

You don’t know how far you can take this conversation before crossing into territory you don’t want to discuss. It’s not that you don’t want to discuss it with him, you simply fear the idea that you might unload on him. You are fully aware how stressing the entire situation with Evie is, but Simon doesn’t need to hear all of it at once. There are some things that are private. There are some things that if spoken to another, might break Evie’s trust in you.

Simon twirls his fork in his hand. “She’s pregnant.”

“Very pregnant,” you add.

“Married?”

How the fuck do you answer that?

“Widow,” you decide, because it’s the truth, and there isn’t any reason to hide it.

“How recent?”

Fuck. Fuck fuck fuck.

“She buried him a week ago.”

Simon stops twirling his fork. “A week?” You hear the surprise in his tone.

“Dead two. Buried one.” Saying it like that makes it sound so final. Archie is gone, and Evie is alone in that regard. She’s lost a piece of herself. A pillar of support.

This whole time, Simon’s gaze has been locked on you. But it drops down toward the floor for a brief few seconds before returning. Sometimes you really wish he’d take that balaclava off so you can get a full picture of what might be happening behind it.

“I’m sorry,” he says. Simon doesn’t press for more, and you nearly sigh with relief.

“I’m helping her for a bit. Easy for me since I work remote.”

“What do you do?”

Oh shit. Simon doesn’t know. All this time, and it’s never come up in conversation.

“Freelance mostly. Technical writing and editing.”

Simon swallows and takes a sip of his whiskey. “And what is that?”

“User manuals, medical documents, press releases.” You list a few more things and as you do, Simon’s lips stretch into a smile. “What?” you ask.

“That sounds incredibly boring.”

You burst out laughing, covering your mouth as you try not to choke. “Pays the bills. Wouldn’t call it exciting.”

This is easier conversation. This is what a normal back-and-forth is supposed to be between two people. Isn’t it?

But what is normal about this dynamic? The two of you met and hooked up in the basement of a club. You ran and he chased, kept chasing for three years, and when you finally appeared before him, you ran again and he followed after you without hesitating.

“Can you stay?” asks Simon, and you hear the silent plea in his voice. It draws up every needy thought simmering beneath your skin.

“For a bit,” you reply, purposefully being non-specific.

He inclines his head toward your plate. “Finished?”

“Yes.” You start to pick it up, standing with the intention to take it to the sink. Simon is having none of it. He whisks it out of your hands before your legs have a chance to fully extend. You plop your ass back in the chair.

Simon rinses out pans and cleans knives. Sitting in a chair and doing nothing is not something you’re accustomed to.

“Would you like me to help?”

“I’d like you to relax.”

“Yes, sir,” you murmur, finishing off the last of your whiskey.

He washes his hands and dries them on a towel. As he strides toward the dining table, he snaps at Bravo. “Kennel.”

Bravo’s ears droop, but he complies to Simon’s command.

Simon watches the German Shepard disappear down the hallway. He turns toward you, offering his hand. When you place your hand in his, Simon’s fingers take hold, drawing you out of your chair, pulling you against his body. His other hand cradles the side of your neck and lower half of your jaw. His thumb traces over your bottom lip.

“Can I take you to bed?” he asks, voice slightly husky with need. His thumb returns to your bottom lip, lightly pressing on it. “I want to kiss you. To touch you.” Simon is still holding on to your hand.

Not sex then? Just kisses. Touches. Even the thought of that is sending you into overdrive, every nerve in your body firing at once until your heart thuds loudly in your ears.

“Take me to bed,” you whisper, hardly believing you managed to get the words out.

Slowly, Simon’s hand falls away from your face. It is a gentle release, one that speaks of desire but doesn’t feel so primal and raw as when the two of you first came together. Walking backwards, Simon leads, entering into the dark of his apartment, heading down the hall, and entering the bedroom you noticed earlier.

You don’t even glance at your surroundings. You’re too focused on Simon, and the way he guides you around, easing you onto your back upon the bed. He drapes himself over you like a protective cocoon. One knee slides between your legs, forcing them to apart. The other digs into the bed just shy of your thigh.

Simon rests his forearm just above and to the side of your head. His other hand immediately goes to your waist. You are pinned in. You are under him, and it’s deliciously perfect. Better than what you’ve conjured up in your head. Beneath him, you feel protected. Safe.

Your fingers are already on the balaclava, pushing it up further, seeking him. You know not to go past the eyes, and while it pains you to not see Simon fully, you respect the boundary. That will fall away eventually. As will your uneasiness about being completely open and honest with him about Evie’s situation.

These things will happen. They have to. You want them to.

The moment you have full access to his lips, Simon is on you. Your hands fist the front of his shirt, dragging him closer. Simon lowers himself, his pelvis slotting perfectly with yours. Each kiss is slow. Measured. Every stroke of his hand along your waist, hips, and thighs sends a wave of rippling heat straight to your core.

It grows and grows, melting your resolve into mush. Your legs fall open wider, and Simon instinctually moves in. You clearly sense his needs. It’s fucking poking you. And fuck—what’s a few more hours? You can stay. You can.

Your hand slides between your bodies, slipping beneath the waistband of his joggers, your fingers finding him, wrapping around his hardness.

Simon swallows down a groan as his hips reflexively press against your palm. He breaks the kiss, breathing heavy, his teeth finding your throat.

Simon gently bites your neck, his large hand squeezing your thigh in warning. “Keep touching me like that and you won’t leave this bed until morning.”

The intensity of his delivery zaps you right out of your haze. “Sorry,” you gasp, withdrawing your hand quickly.

Simon’s answering growl pins you to the spot. He snatches your retreating arm, encircling the wrist, only to draw your hand back to him.

“Never apologize for touching me. Never.” His lips and teeth trace over your skin. When he finds your lips again, there is nothing chaste about the way he tastes you.

“Simon—”

“Not tonight. I—Not like this.”

Your hand that still rests on his chest slides upward. One finger delicately traces that scar you know so well.

“Will you walk me home?”

“You never have to ask.”

Simon guides your hand away from his groin. In the next moment, he wraps his arms around your waist, lifting up and off the bed, and onto your feet.

He’s smiling down at you, and it’s full of joy. You don’t know how to receive it. It’s almost too much, and you slightly feel undeserving of it.

“I’ll grab my coat.” You start to move but Simon’s arms around your waist tighten.

“Wait.” You glance up, find an intensity in his stare. “Can I take you out?”

“On a date?” you blurt.

“Movies. Dinner.” He shrugs. “Normal things.”

Your lips part slightly in confusion. There is nothing normal about Simon. “You don’t want to take me out for normal dates,” you say slowly.

Simon’s jaw clenches. “No.”

You grin, knowing you’ve trapped him. “What kind of date would you actually like to take me on?” Leaning forward, you rest your chin on his chest.

“Take you for a ride for starters.”

“On a bicycle?” you ask with mock innocence.

Simon sharply lands a slap to your ass. “I’ll put you back on that bed.”

“Promise?”

His answer is a growl, and a firm squeeze. “I’d take you to the coast. Or the country. Maybe up to Manchester. Show you where I grew up. All my favorite spots.”

“Go on,” you entreat.

“I’d show you the Highlands. Stay in a little cottage on a friend’s family farm.”

“What else?”

Simon’s brow softens, and then he’s bending down, capturing your lips in a deep kiss. “I’d make new memories with you,” he murmurs against your mouth.

“Promise?”

“That’s a fucking guarantee, love.”

For several minutes, the two of you embrace just inside his bedroom door. For several minutes, the two of you almost return to the bed, to fall right back into each other’s arms. But Simon has far more control than you.

Coats are collected. Bravo’s leash is found and attached to the dog’s collar.

The two of you don’t hold hands on your walk to Amelia’s. Instead, the two of you loosely intertwine a few fingers. There is no rush. No need to arrive quickly. And while there is silence, it’s a contented, peaceful thing.

Reviving. You are reawakening with Simon.

At Amelia’s front door, your parting kiss is not a kiss at all. With both hands, Simon cradles your face, closes his eyes, and rests his forehead against yours. You match him, closing your own eyes, placing your hands over his, simply breathing in his presence.

You’re practically skipping up the stairs to your shared bedroom with Evie. You expect to find her asleep. But when you open the door, you don’t find her tucked under the covers. She’s sitting up, resting against the headboard, wide awake, and crying quietly.

“What is it?” you ask, panicked, dropping your purse and coat onto the floor, crawling onto the bed to reach for her.

Evie wipes at her eyes, smirking through her tears. “Shouldn’t you be in your man’s bed right now?”

“Oh hush,” you mutter, waving her comment off. “What is it?”

Her smile falters. “Archie’s older brother called.”

The panic disappears. The contentment and peace that clings to you from your time with Simon evaporates instantly. All of it is gone. Poof. Like a popped balloon.

In its place is a seething anger.

“What the fuck does he want?”

“He wants to meet.”

taglist:

@glassgulls @km-ffluv @glitterypirateduck @spicyspicyliving @childofyuggoth @lialacleaf @theshrikeandcanary @coffeecaketornado @wren5650 @aykxz98 @kayden666 @36namey @creamwhxre @pearljamislife @wrathofcats @keiva1000 @cherryofdeath @pertinentpostmortem @enfppixie @bbyfimmie @cinnabeanz @berarenado @rogerrhqpsody @c0pernicus @josephquinnschesthair @corvusmorte @saoirse06 @therealbloom @ninman82 @no-oneelsebutnsu @marispunk @thewulf @knight4xmas @jupiternighties @darling006 @hayleybarnesx @lxblm @ferns-fics @ooldcardigan @carma-fanficaddict @beebeechaos @enarien @xxkay15xx @sw33tsnow @kessi-21 @makayla-666 @lifes-project @tiredmetalenthusiast

[brotherwtf]

WOUNDED

[ WOUNDED ]: sender arrives at the receiver's door with considerable injuries, in dire need of help and emergency care that only the receiver is either trusted enough or convenient enough to provide.

*slaps drabble* this bad boy can fit so many fanfic cliches in it

----

There's a faint knock at the door, and Gale was sure he would have missed it if he wasn't putting his keys up. He looks at it perplexed. Who could be coming over this late?

He opens the door, expecting to give a solicitor a firm talking to, but finds he can't breathe when he sees John on his front porch. He gasps when he sees the bloody gash on his forehead, accompanied with a bruised eye socket and bloody knuckles. John looks defeated, slumped down into the doorframe like he can't quite hold himself up.

"Hey, Buck," John rasps and Gale shakes his head.

"Jesus, Bucky, what happened to you?" Gale asks, dragging John into his kitchen and forcing him to sit down.

John shrugs his shoulders, wincing when Gale turns on the lights.

"You better not have picked a fight in town again," Gale says, and the expression on John's face tells him all he needs to hear.

He grabs a rag and some hydrogen peroxide, along with some sticky bandages for the gash on his forehead.

"You gotta stop doing that, you keep getting hurt," Gale says, taking the damp rag and pressing it along the worst of the bleeding.

John takes a swift intake of breath, hand coming up in a mock salute at Gale's words.

"Yes ma'am," John says and Gale rolls his eyes at the words.

He works on cleaning the worst of the blood from John's face, standing between John's legs to do so. One of John's arms daringly finds Gale's waist, trying to wrap around it, but Gale pushes it down almost as quickly as it comes up.

"None of that, I need to get you cleaned up," Gale hisses and John almost whines because of it.

He takes the hydrogen peroxide and wets his rag with it, pressing it to the gash on John's forehead.

"I know, I know, sorry," Gale mutters when John winces at the stinging pain.

Once the majority of the blood was gone from John's face, he looks down at him with a hand on his shoulder, finger gently playing with the light curls on the nape of his neck.

"You gonna tell me why you got into a fight?" Gale asks, but it's more of an order than anything.

John sighs, daringly taking his arms and wrapping them around Gale's waist again. Gale doesn't stop this time, but ignores the way his heart jumps.

"Was talking bad about you, doll, saying mean things about how you don't come out to drink or dance. Couldn't let them talk about you like that," John says and it's horribly domestic.

Gale wasn't sure what their dynamic was. They were friends, but the way John held onto him and looked at him hinted that maybe he wanted something more. Gale wasn't quite sure if he reciprocated the feeling.

"Now why would you do that? I don't need you protecting my honor," Gale says and John chuckles.

"Don't you though? Come on Gale I know you're crazy about me," John says and Gale knows he's either drunk or crazy confident right now.

"And what if I am? Gonna do something about it?" Gale asks, and he can see the gears working in John's head.

He wraps his arms tighter around Gale's waist, bringing him in so Gale's stomach is flush with John's chest, daringly nuzzling his nose against Gale's shirt.

"I could kiss you, is that something good enough?" John asks and Gale feels his brain short circuit.

Before he can even think he's nodding, and John has surged upwards and grabbed his head in a kiss that was far better than anything he has ever experienced before. It makes his knees buckle, and he can taste the slight copper of blood that he didn't quite clean off on John's lips, and it's so fucking good he can't stand it.

John kisses Gale like he wants to own him, and his brain immediately goes fuzzy when John's hands hold his head. John pulls away, looking at Gale with a heady expression.

"Can I do that again?" John whispers.

"Fuck, of course you can" Gale curses before diving back in again.

[the-other-art-blog]

No, Benedict, love IS finite and it begins and ends with Sophie Beckett

It's a matter of time before we get s4 Benophie announcement. I have so many posts planned, but I need to be 100% sure that Sophie will be Sophie before posting them.

Meanwhile, I want to discuss Benedict's line "love is NOT finite."

This is an example of how advice may only apply to certain people in specific circumstances. Luke Thompson explained it perfectly:

Eloise needed to hear this to understand that marriage wouldn't take Colin and Pen away from her.

However, the way he understands it has a totally different meaning. He takes his advice for himself to go and have a threesome with Tilley and Paul. Luke Thompson talked about it and said:

Good for him! But the thing is that the love Ben offers is still quite superficial. Like, yes, let him experiment and be free, but what Tilley tells him is that eventually, it gets tiring. And this is not even about monogamy. If both Paul and Tilley had asked him for exclusivity, he would have still rejected them. Benedict has deep commitment issues because he has never needed to commit to anything or anyone.

For him, the "love is not finite" will bring more problems than solutions.

The way I think it's going to go is:

Ben will meet the LIS, remember what Tilley taught him, and want to commit. But she will disappear.

Then he meets Sophie as a maid and he thinks he can marry the LIS AND keep Sophie as a mistress.

He will think that he has room enough for both of them, that he can love them both and won't have to choose and lose his freedom.

Sophie doesn't think the same. For her, love begins and ends with Benedict. That's it, there's no one else. So, if she can't have him fully, she would rather let him go (I have a post planned about this because Sophie is a queen of self-respect and self-love).

Moreover, he is the one getting multiple partners. I may be wrong, but book!Benedict never thinks of the possibility that the LIS found love elsewhere. And he never talks about letting Sophie be the mistress of other men. Mistresses could leave if they got a better offer, so how is Benedict so sure that it won't happen with Sophie.

Not to mention that his arrangement with Sophie and his wife will not be in equal positions. One is a wife, the other a mistress, a dirty secret kept hidden.

In AOFAG, Ben says this:

Remember what Tilley told him?

It's all fun until you develop feelings and suddenly, you want that person just for yourself.

I know I KNOW we're tired of love triangles, but frankly, Shonda loves them and Benophie might be the season where a bit of competition can do good.

Of course, there may be the LIS-Ben-Sophie triangle. But I want to give a mini heart attack to Ben when someone else shows interest in Sophie.

I don't want Sophie to have feelings for anyone else, THAT will upset me. But think of a moment when a vendor or a solicitor goes to No. 5 and sees Sophie, maybe even one of the footmen. He's taken by her beauty and Hyacinth notices. And since Hyacinth can't keep anything to herself, she brings it up during dinner or tea time and Ben goes pale.

And that's where he's going to understand what Tilley felt when she saw him with Paul.

I would even include a scene where LW or the family discusses Benedict dancing with some lady during a ball, Sophie hears and Ben teases her. Sophie's jealousy elevates his ego, but once he learns other men are looking at her, that will make him empathize with her.

[evans23]

Loving you is a losing game

Pairing : Judge Turpin x Reader OC

Summary : The Judge Turpin has married you by buying your hand to your father. Determined to not let him get close to you and even less reach your heart well kept under ice and resentment, you keep on to push him away. But after having been told that loving you is a losing game, something new seems to awake inside of you.

Tag(s)/Warning(s) : Forced marriage. Assault.

A/N : Hello dear 😁 here lay my first Turpin fiction. I didn't really know where I was going with it but here is it. I didn't proofread it so there are probably some mistakes, sorry for that. I forgot to mention I am not the one who came up with the name Richard. I read this name in the terrific trilogy “Judged and Sentenced” from @deepperplexity. Since then I saw the name pop up here and there and so, I suppose the name is sort of canon now 😅

Part II

Read also on AO3

You couldn't put up with the fact that he had bought you. But it wasn't really him, your husband, that you despised for that. It was your father. The man you thought you could always count on.

You had had quite an easy childhood with not too many constraints, which were rather rare at that time. You had been taught to read and to write. And you were a good writer. Such a good one that one day, a publisher from a local and independent Newspaper from London made you sign a contract to edit some of your short stories in his Sunday paper. And as he was well known in the literary sector, he put you in touch with a book publisher. This is how you became "Alexander Bryant" in the eyes of the public. Of course, you weren't able to be published under your real name. A female writer ? What an offense !

But you didn't really care as you were able to make some money from the sale of it. Some really good money, a rarity for a woman. It was fortunate as, for the biggest desperation of your father, you weren't, in any way possible, a good maid. You couldn't sew two points in a raw correctly, your cooking wasn't palatable at all and if you appreciated living in a tidy house, you couldn't spend more than one hour or less doing that.

But you didn't have to worry about it now as you had been married for two months to no one else than "The Death's Judge".

"How did it happen to me," you muttered to yourself, looking at you in the mirror without really seeing your reflection.

In fact, you perfectly knew how it had happened. You didn't know how and you didn't know where, but Richard, your now husband, had noticed you one day and since then, your faith was decided.

He came one day to your house with a bouquet of flowers for you. You had looked at him suspiciously. You knew who he was. His reputation preceded him of course but you also had a glimpse at him one day when you were at the court with your publisher and one of his associates to negotiate the terms of your new contract with a solicitor.

At that time, you didn't think anything peculiar about the man. You vaguely remembered having thought that he was quite handsome with his hooked nose, his tall frame and his charismatic presence. If you hadn't been forced to marry him, you would have admitted that you had found him alluring.

But here was the point : your father had sold you to the man.

That day when he came to your house with his bloody flowers and his absolutely not appealing smile. He had asked to talk with your father and you had fetched him as quickly as you could, afraid that he was in trouble.

He wasn't in trouble, nevertheless, the call of the money echoed deeply in him when Judge Turpin offered a generous dowry for your hand.

"I apologies to have to tell you are in the wrong Judge Turpin."

The man had looked up at you with a frown.

"This is the woman's family who have to provide you with a dowery and unfortunately, no one here is in measure to give you a penny."

It was half a lie as you kept your money in security into a chest under your bed. You weren't quite honest about your earnings with your father as he was quite a spendthrift. So, you helped him by giving him a small amount of money, keeping preciously the rest away to constitute a nest egg for later.

Absolutely not bewildered by your interruption and your statement, Turpin had grinned before announcing that you were the one making in mistake in this particular case.

"I had the sincere desire to marry you and as I just said, I will give a compensation to your father for the loss of his precious daughter."

You had retained a laugh, persuaded that never ever my father would agree to such an obnoxious offer.

You were so wrong. The Judge had let you some days to think over the offer he had laid on.

Tempted by this important amount of money Turpin was willing to pay to ensure that your father handed over your hand to him, your thoughtful father didn't need to think too long to accept his offer and in the blink of an eye, you were betrothed.

You had protested, swearing that you would prefer to kill you rather than marry the man, the deal was sealed without you having a say. In any way, no one was willing to listen to you.

During the ceremony, you were full of apprehension, afraid about your wedding night. But for your biggest surprise, nothing happened. After the party, the both of you retired in the privacy of his opulent mansion, he showed you your room and left you alone.

Your new house was daunting, not up to your expectations. The exteriors were quite imposing, displaying the wealth of the Judge, but the inside was… not really gloomy but also not really lively. It was as if the house was uninhabited. And you discovered later it was the case. Turpin, Richard as he asked you to call him, was seldomly at home. He departed for the court early in the morning and came back late in the night. Since your wedding, you didn't share a meal together and your only company was your maid.

For such a big house, he didn't have nearly so much staff as one could expect of a man of his stature would have. A cook, three maids, whose one had been hired exclusively for you, and the Beadle. You didn't really know who the man was and what clearly was his function beside your husband but you couldn't stand him. His ratty face didn't inspire you any confidence. He seemed deceitful and ready to betray his own mother if it could bring him any advantages.

"Like Richard," you said to no one as you were looking out the window at the crowd running around the city.

Hadn't you been so resentful about the latest events, you would have admitted that your life wasn't as bad as you imagined it would become after your wedding.

He didn't touch you that night nor any other after that. He didn't try anything which could have distressed you, didn't restrict you from any freedom you thought you would be longing for. You were allowed to write, he was more than happy to furnish you the papers and the ink you needed and he had arranged a room for you to make your office. You were allowed to go out, only on the condition to stay in the richest part of the town and you could visit your publisher when needed without his approval. His only wish was that you let your maid know when you were leaving the home. You weren't dupe, you knew that as soon as you set a foot outside, he was informed. But even if he was aware of each of your movements inside and outside the mansion, you were still able to enjoy your freedom, a privilege a lot of women lost after being married.

He also lavished you with presents. Valuable jewelry, the most beautiful dresses you had ever seen, books, flowers. Not a week had passed without an attention for you. In the beginning, you hesitated between bringing the presents into his office to let him know you didn't want to have anything to do with him but well aware of his reputation, you had been afraid of infuriating him. After all, you didn't really know the man and he could retake what he had given you at any time.

So was what you told to yourself rather than admit the truth : you were flattered and pleased to receive such beautiful gifts. Should someone have utter that maybe you could come to appreciate your husband you would fervently have denied it. After all, how could you become accustomed to him without having the opportunity to speak with him ?

The only moments shared together were on Sunday. Richard wasn't a fervent believer in God and neither did you, so you had a lazy Sunday at the mansion. It was the only time during which you ate lunch and diner together and during the afternoon, he systematically invited you to join him in the parlor but you rarely spoke to one another. In general, both of you were reading. Sometimes, you brought with you your ongoing book and he would ask you random questions about it. He had once admitted to having your previous literary work.

"And what did you think of it ?" you had asked with a feigned indifference.

Your stoicism hid your nervousness. You couldn't fathom why you felt nervous about his opinion about your work, but you were.

"Well my dear, It is unusual for a woman to write about such things as a vampire. Even less a love story like this one. Does the sexual tension between the human lady and the vampire make on purpose ?" he had asked bluntly.

You had nodded once, your cheeks flushing at the mention of some somewhat suggestive scenes from your book.

"Well, I am impatient to read the next part of it."

And that was all.

Mustering up the motivation you were lacking to officially begin the day, you pulled yourself away from the window and asked the help of your maid to get ready to go out. You had to go see your publisher and then, you expected to have a walk in the park to make the better of the sunny day, which began to spread ahead as the hours passed by.

But nothing happened as you had planned. While you were walking in the street, you took a side road to reach faster your destination. It was a dark, filthy little street dwelt with drunkers and dwellers. You weren't really scared as you had taken this path numerous times in the past and as long as you minded your own business, you weren't really in danger. At least, it was what you thought. How wrong you were, you realized when a callous hand had fallen on your mouth.

"Your lost little beauty ?" asked a raspy voice.

You shivered, trying with all your strength to get away from the man but his grip was strong.

"Don't make it difficult little beauty, you will like it."

You bit his hand to blood, which earned you a ferocious slap on the face. You fell on the ground, a bit dizzy, trying as hard as you could to pull yourself together but you didn't have the time than his hand clenched at your hair, pulling you violently towards him. Standing you up roughly, making you let a squirm escape your lips, he pushed you against the wall, a hand on your breasts, another trying to find his way under your skirt.

Totally paralyzed, you were unable to move or even scream. Your breath became heavy as you stayed motionless even though you knew what would happen next.

He has approached his face from yours, his foul breath caressing your lips, making you want to throw up, when a snicker was heard.

Not really moved by the onlooker, the man had run his tongue across your cheeks, which had the effect of waking you up from your trance.

You tried to slap him but he was faster and knocked your head with his fist.

"Constable !' shouted a voice.

In one instant, the man was pushed down to the ground by two constables. Behind them were the Beadle. The snicker-man.

"Having dared to touch the wife of the Judge Turpin…" he muttered, enjoying the moment.

"It is something that will send you right through your death," he added with a horrendous laugh.

You have been brought back to the mansion by another policeman while Beadle escorted your assaulter to the prison, clearly enjoying what he had witnessed and the fate of the mongrel.

When you arrived, Richard was already torn, the worry imbued all over his face.

"[Y/N], dear, are you well ?" he asked his voice full of concern.

He tried to take your hand but you pushed him away before holding yourself tightly to retain your shivers.

He didn't follow you as your maid came towards you to lead you to the bathroom where she ran a bath for you. You soaked in the water until it was cold. Then, you called for your maid. At any other time, you would have dismissed her as soon as your bath was ready. You didn't like having someone around you to help you with something as trivial as drying you off but you were exhausted and could barely keep your eyes open. But it's not your maid who entered into the room. It was your husband.

"Richard…" you whispered, not daring to look at him.

You felt suddenly wide awake, the tiredness dissipated and replaced with something else. You felt ashamed about what had happened. You knew it wasn't your fault, for that man had acted with malignancy and it couldn't have been the first time. At this thought, you bristled.

"[Y/N], let me help you," he said, stepping in carefully.

He dropped a thick towel around you but when he tried to rub you in the aim to bring some heat to your cold skin, you backed away.

"Don't be afraid [Y/N]. I just want to help you. I will protect you."

He tried again to approach you but then again you backed away, trying to shut him out from trying to break through your shell.

"[Y/N]," he said almost desperately.

You shook your head, muttering for him to go away.

"Leave me alone," you said with anger.

"No ! I want to help you," he replied, looking with disapproval at the bruises which began to form on your face.

"I don't want your help ! I want you to go out. Let me be !" you shouted.

"No ! You are my wife, my place is by your side."

"I'm not," you retorted.

"What ?" Asked Richard, his own anger boiling up quietly but surely.

"I am not your wife," you said with defiance.

He made one step towards you and this time you didn't move, holding his gaze with fury.

"You are my wife. We had wed in front of our families and of God !"

"God has nothing to do with our marriage. You have bought a wife as we bought a dog."

"I asked for your hand because I am in love with you."

"How ? How could you be in love with me ? We have never spoken together !" you shouted totally oblivious that the staff could hear you. "If you were really in love with me, you would have courted me properly."

"Would you have agreed ?"

You didn't respond as the answer was obvious. Never you would have paid the slightest attention to his advance, but there wasn't the point.

"So, no matter what, you get what you want by fair means or foul." you spit out.

"My patience grows thin, woman." he warned you.

"And what are you going to do ? Giving me a beating ?" you asked brazenly.

He clenched and unclenched his fists several times. Never would he have laid a finger on you on the purpose of hurting you but you were clearly unnerving him far more than anyone before you had dared to.

"I try [Y/N]. I try very hard. You are the one unwilling to make any effort to come to me and get to know me."

"Buying a hand doesn't mean you buy a heart !" you retorted coldly.

You were about to add something else, something you wish was hurtful but you didn't have time as he cut you off.

"I tried to talk about your writing, about your childhood, your hobbies. You always answered me with monosyllable, always with a bored look on your face. I gave you space, I didn't coerce you to oblige to your marital duty, I let you go out alone as a proper lady shouldn't do. And this is how you thank me each time. By pushing me away. Again and again and again. Each time I try to show you kindness, you answer with meanness."

He had said that in a calm, poised voice but his anger could clearly be heard. He had talked with the calm severity of a teacher who doesn't need to raise his voice to make his disobedient pupils obey.

"Richard," you whispered.

"Loving you is a losing game but things are going to change, woman ! I am not to let you mess with me anymore. Yes, mark my words, things are going to change for you woman !" he growled dominating you with his imposing presence.

His baritone voice sent some shivers along your backbone.

With one last look at your bruised face, he quit the room, slamming the door behind me.

You stayed there for a while, stunned by what had just happened. He was right. Now that you thought about all the moments he had passed with you, never had you let him reach you farther than the cold surface layer that prevented the world from knowing the real you.

You were so angry about having been bought like an animal that you had never tried to be more acquainted with him. He was right, never ever he could have had your attention, even less your friendship and certainly not your heart if he hadn't barged in your home. And if you were totally honest, you would admit that you begrudged far more your father than Richard for the deal that was made that day.

"But He still didn't have my heart." you reasoned with yourself.

But inwardly, you felt as if it weren't true anymore. Not totally. You couldn't tell you were in love with him but for the first time, you were ready to recognize that you felt something for the man.

Loving you is a losing game, had he said but at this precise moment, you felt as if you were the one losing the game you had settled the both of you in. You were losing the game of hatred in favor of love. And this night, whilst you were staring at the ceiling, you found yourself hoping that he take back his words, that he came to the conclusion that loving you was worth it.

[the-grey-hunt]

last year i talked somewhat about jonathan harker in the role of the gothic heroine, which seemed to go over well! this year i've decided to challenge myself to delve a little deeper and keep my literary analysis skills sharp (trying to keep away from anything revealed later than today's entry, for the new readers)

for context in the literary background i'm examining here, the female gothic (a term coined I believe in the 70s) is a lens of analysis for gothic literature which examines the role of women as expression of contemporary anxieties around women and their roles in society, particularly as mothers and wives. like many kinds of horror, political and social anxieties are deployed as supernatural forces with which to terrify the "ordinary" citizens.

jonathan, our ordinary man, is certainly faced with horrors—but in what way? sent by an older man, Peter Hawkins, jonathan enters a foreign landscape where he enters into the power of another older man, at a particularly vulnerable time where a loved one (Mina) is waiting at home but jonathan does not appear to be married. the horrors that jonathan faces are the same trials set up against gothic heroines: threatening older men with power over you, poised at a huge point of transition in your life, etc, etc.

the main argument against jonathan as a heroine is, I think, his job. His transition point right now isn't an impending marriage or that he needs one, but that he's just established himself as a solicitor and is meeting with Dracula for business purposes. however, I think how these are deployed as tools in the story, such as Hawkins almost transferring guardianship of his young employee/ward to Dracula (temporarily), still very much mirror the ways in which high-class social norms are deployed against gothic women. even the work jonathan does in the castle (talking to dracula about real estate) isn't in service of bolstering his manly prowess, but serves as a tool for dracula to distract him, and keep him from realizing that he is trapped and serving dracula's own will.

rather than being tried in a manly fashion by his strength or his wits being challenged, jonathan's gothic experience is of his environment and even his body being manipulated by the man meant to be a helping hand in a foreign land. when I say body people might think it's a little early for that, but it's happening—dracula keeps jonathan up late so he sleeps in, forcing him to acclimate to dracula's own nocturnal existence. when he gets a glimpse of blood, he attempts to take it from jonathan. even today, a few hundred years after dracula's social anxieties about women's bodies being trespassed upon by men other than the ones entitled to them, women may see echoes of their own anxieties about bodily autonomy.

Dracula also isolates jonathan socially. He makes jonathan mistrust his own ability to percieve reality (gaslighting, anyone, a story about a woman being manipulated by her husband?) by pretending that servants are in charge of the cooking and so on, when really it's just dracula keeping up a masquerade.

this comes to a head in the mirror scene, where jonathan's shaving mirror—an item he uses to attend to his appearance—ends up being a helpful tool which exposes the supernatural reality of what jonathan's up against. however, because dracula is still the one in power, he immediately gets rid of it, calling it "vanity". I recall the quote by John Berger:

You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakedness you had depicted for you own pleasure.

the ways in which jonathan is treated by dracula, and the ways in which he attempts to bolster himself against the threat (spying to see what dracula's really doing, seeing the lack of reflection by chance) mirror the highly gendered dynamics of the Victorian era which this book was written in the tail end of. perhaps purposefully subverting jonathan's gender as a further expression of the horror of dracula, stoker's work takes jonathan as a man secure in his position at home in england to being a manipulated, isolated, and precariously positioned figure subject to the whims of an abusive man while friendless in a foreign country

(and the essay on how race, ethnicity, and foreign versus home plays into this is a whole other post! racism effects gender too! it's not a mistake that jonathan is securely male at home but his gender is subverted abroad!)

[vanishedinvain]

𝐜𝐨𝐮𝐧𝐭𝐢𝐧𝐠 𝐬𝐡𝐞𝐞𝐩

summary: the night before anthony and simon's duel from benedict's perspective.

warnings: angst, anxiety

a/n: wc: 546. this is a cut scene from ch. ii. of perfect all-american bitch, my benedict bridgerton x reader series where benedict becomes the viscount, but can be read as a standalone since this is a flashback sequence! despite how long the chapters already are, that's after i've spent a full day editing them lol, so i'm thinking of posting scenes that i've cut/would've liked to include in the main story but wasn't super relevant to the plot (like this one)

Benedict and Colin exited the study feeling about a decade older than when they walked in. Anthony had provided them grimly detailed instructions on what to do in both of the worst case scenarios. The two younger brothers congregated in Benedict’s bedchamber to go over the logistics one last time. 

Colin was to remain on guard at the home. He would arrange for a hired hack to be at the house to transport Anthony to either the docks or the hospital. He needed to keep Daphne from interfering, their other siblings away from any violent sights, and their mother calm.

Benedict needed to contact the solicitor to secure their financials. They would need to give notice of either death or disappearance to the people of Aubrey village and to Parliament. They might have the Bow Street Runners called on them in a few days time. Benedict might have to arrange for the funeral and a casket and—

Oh dear, the room was spinning.

Benedict had been running through the list in his head for the past few hours, his cursed version of counting sheep. Colin was snoring on the bench at the foot of the bed, occasionally bumping against the frame. 

Colin seemed a great deal calmer than Benedict. He seemed quite sure that the duke would yield, or that they would both fire their pistols wide. Perhaps, he was truly that optimistic, if a bit naive. But perhaps, he was only putting up a front. Because when Benedict suggested Colin go back to his own bedchamber once they were through, his younger brother had insisted he was too comfortable to move.

It was a bald-faced lie if he ever saw one. Colin was taller than Benedict, which meant his legs were scrunched up when he was horizontal on the bench. But he managed to fall asleep anyway, and Benedict draped a spare blanket over him before retiring to bed himself. 

And truthfully, Benedict did not want to be alone either. If this was their last night of normality, he would rather spend it together than apart. He laid staring at the ceiling until the first streams of sunlight threatened to breach the inky sky.

It was time.

They made their way down to Anthony’s study. This would be Colin’s post; close enough to the main entrance to execute his tasks, but hidden away from the staff, and more importantly, their mother.

Benedict clasped a hand on Colin’s shoulder; he hoped the gesture came across strong and reassuring, but Benedict felt more like he was grasping onto a life-jacket.

Colin was still boyish, the baby fat not quite melted off his face, and looked entirely too young to be dealing with this. He mirrored his brother, also grabbing Benedict’s shoulder. “This whole affair will all be over in a few short hours,” Colin said with a small smile.

Benedict couldn’t bring himself to agree as it would be disingenuous. There was something peculiar in the air this morning, as hokey as that sounded. Something just wasn’t sitting right with him, but he couldn’t put doubts in Colin’s head. 

He was the older one, so act like it. “The only way out is through,” he said with the solemn resolve to bring this business to an end.

why was this cut? as much as i liked exploring the relationship between colin and benedict (tbh i love getting the chance to explore any bridgerton sibling relationship hence why beneloise got a whole prologue), but 1. i was approaching a ridiculous word count and 2. it didn't entirely make sense for benedict to start the story from the night before.

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[too-antigonish]

That Thing You Didn’t Talk About, Let Alone Do Back Then #237: Divorce

It seems like quite a few of us have recently rewatched Degüello and it hit each of us in different ways. I was particularly struck by this scene between Thursday and Win where she tells him she’s finally gone so far as to see a solicitor about a divorce….

Of course the divorce never happens and the Thursdays’ marriage makes it all the way through Series 9 and hopefully beyond. It’s easy, though, for people today to underestimate what a huge deal this would have been in the early 70’s. It was a time when divorce was still firmly in the category of “disreputable” in a way that I think is hard to understand for those who didn’t live through that era or who haven’t been exposed to a lot of period media. I’ve had a number of conversations with people who equate it with divorce today and just don’t seem to grasp how shameful and isolating it could be only a few decades back.

That goes doubly so for the 1940’s or 50’s when Morse’s parents would have been divorced. In one of his interviews with D.M. Barcroft, Russ Lewis says of Morse’s parents’ divorce:

“But then – and I can only speak to the early 60s and 70s – so one must multiply that by an order of magnitude for the 40s/early 50s when Cyril and Endeavour’s mum went their separate ways – the social stigma then around divorce was unimaginable. For Endeavour, it would have been whispers in the playground – looks and nods in the street. A certain pursed-lips reserve in the butchers when he went shopping with his mother – as if people feared contagion. Divorce. Unmarried pregnancy. Two sides of the same coin. The fear of being found wanting and becoming an outcast from the tribe. People moved away. They left one part of the country for another to escape the disapproval and stigma.”

Today in Europe and the U.S. divorce is mostly seen as an unfortunate but necessary option. It’s the choice you make when a marriage is irrevocably damaged. That attitude while common, however, is so very recent. Definitely in the 1970s and even well into the 80s, it’s not an overstatement to say that divorce was often a literally terrifying prospect for people. Why?

Religious: 

Marriage is sacred: It was still the subject of strong religious taboos in many places. Marriage had long been seen as a sacrament—an agreement not just between you and your partner but with God as well. There were no take-backs, no do-overs. Divorce wasn’t just ending a broken relationship. It was selfishly putting your own personal desires above a sacred vow to God. 

Because marriage is always good, you must be bad: And in a moral catch-22—because marriage was just always so sacred and good—whatever unsolvable problem you were dealing with must really be because of you. It must be because you…lusted after someone else…Because you couldn’t be a good enough wife to keep your husband’s eyes from roaming…Because you weren’t a patient enough husband to “put up”  with your wife’s constant abuse... Somehow, it had to be your fault. 

Cultural:

Divorce is always selfish: Culturally, divorce was often regarded not with compassion but with contempt. It was seen as a fundamentally self-centered act. And that’s without even getting into the issue of “the children.” 

The Children: At the time, children were pretty much always regarded as irreparably emotionally damaged by divorce and sometimes even seen as tainted morally by their parents’ actions. This was seen as outweighing any damage caused by parents in an abusive or toxic marriage.

Legal:

Advent of no-fault: While the social stigma of divorce to a certain degree stemmed from the religious stigma (divorced people were seen as somewhat wicked for the “sin” of divorce), much of the taint stemmed from the process itself. There was no such thing as completely “no fault” divorce until remarkably recently. From my quick-and-dirty research: The first U.S. state to have no-fault was California in 1970. New York became the last state in 2010. The UK started to allow no-fault (but only after 2-5 year periods of separation) in 1969 but only waived extended waiting periods in 2020.

Prior to no-fault: Prior to no-fault, however, divorce essentially meant that at least one spouse had to accuse the other of an offense (a “fault”). The acceptable list of offenses in most western countries included a grab-bag of morally-loaded “grounds” such as desertion, cruelty, insanity, adultery, homosexuality, drunkenness, etc. 

Public declaration: Typically the parties involved were required by law to proclaim their accusations in a very public manner—often both in court and via publication of the information as a legal notice in local newspapers. And finally, for the divorce to “go through,” someone had to essentially be found guilty of said offense. 

Social:

Everybody knows: In practical terms, this meant that your neighbors—or the parents of your children’s friends—or your boss—all of them knew that your husband had left you for someone else or that your wife had a drinking problem or whatever else you or your spouse had decided to tell the court.

An example: My grandmother’s parents divorced in the 1940s in the U.S.—an era where divorce was very rare. It was highly traumatic for my grandmother—especially when the local newspaper had to publish the legal notice and mixed up which spouse had “deserted” the other. She and her mother were no longer seen as acceptable company for many of their neighbors. Many of the parents of my grandmother’s friends would no longer allow their children to associate with her. She lived well into her 90s and even then would still occasionally talk about the experience.

Economic:

Many women had no money or skills: None of that even begins to touch on what the economic implications of divorce used to be. These were usually couples where the wife had either never been employed or had only been employed briefly before marriage. She would rarely have marketable skills and even if she did, any options for childcare while she worked would be limited—unless she had family or friends willing to pitch in for free. Divorce—especially prior to the 1980s—almost always meant a life of struggle—if not a life in out and out poverty—for the women and children involved.

There is of course more, but I’ll stop there. Needless to say, Win and Fred divorcing would have been a very big deal. Morse’s parents divorcing when he was a child would have been a very, very big deal.

I always though it was unfortunate that the only time they really touched on the topic of divorce with Morse was in Scherzo—and then in a fairly superficial way. It would have been a hugely significant part of his childhood and a major influence on the man he became.

[serial-serializednovelreader]

It's crazy to me that people call Jonathan a himbo, he's so methodical and clever! It makes sense that Mina would be attracted to someone bright too

Yes, anon, you’re so speaking my language!!! I do wish people would stop calling Jonathan a himbo because — nothing against himbos — but Jonathan is not one of them! And yes, it totally makes sense that Mina would attracted to someone as clever as him, and since she’s also so smart, I’m sure the feeling is mutual.

Before y’all come shouting in my inbox “what do you have against himbos??” and “Jonathan is totally a himbo, what are you talking about?” Let me clear things up:

First of all, I love himbos!!! Kronk from Emperor’s New Groove — peak himbo, imo — is one of my favorite characters. Am I attracted to them? Well…no. As you can probably tell from my last Nova’s Notes, I’m more the kind of person who’s attracted to cleverness or when people nerd out. BUT I cherish himbos for all of their wonderful qualities and if I ever get the opportunity to meet one in real life, I would love to be friends with them! <3333

Secondly, for anyone who’s still saying Jonathan is a himbo…

Himbos have to embody all three qualities equally to be considered himbos! If they are not kind? Not a himbo. Not strong? Not a himbo, I’m sorry! I do make the rules of himbo, I simply follow the rules.

Now on to our good friend Jonathan Harker’s case.

He is undeniably kind. From what we’ve seen so far (not to mention later), he is not only loving to his fiancée, he is kind to strangers as well. He takes gifts from the villagers, even if he does not understand them. Just a couple of entries ago, he was willing to risk his life over a child he didn’t even know (and the same night after he had screamed running away from the women, too). Some of the Dracula Daily book club on here suspects (as do I) that some of the reason he’s so eager to spring into action the next day is to put a stop to Dracula’s evilness for other people, not just for himself. Heck, he’s even talked about Dracula’s good qualities after finding out he’s a prisoner!!! So, kindness? Yes! ✅

As for strong, there’s not as much evidence here, but I would call him somewhat strong because not just anyone could successfully scale a castle wall twice in one day like that! That takes a lot of strength in your core, arms, back, etc. Sure, Dracula can do it — but Dracula is also a vampire with super strength. Maybe it’s easier than I think it is, but I’m not exactly going to look for a castle to try it!! So for Jonathan to crack his knuckles and go “yeah, he can do it, why can’t I?” is both hilarious and shows that he must know something of his own strength. However, he’s also a solicitor and I doubt he’s built like a bodybuilder. So, strong? Maybe not as much as a typical himbo, but let’s give him the check mark because Lizard Fashion is nothing to sneeze at. ✅

Now for the ditzy part….I’d have to say no to that. Himbos are meant to not be “the sharpest tool in the shed” (yes, I did have to hit you with a Smash Mouth reference, sorry not sorry) and Jonathan is farrrrr from that.

Everything he has done so far has been methodical and smart. I covered this in my other Nova’s Notes (you can look under the hashtag on my page if you want to see more :D) so I really don’t want to go through too much I’ve already gone through, but the arguments I’ve seen for him being a himbo — based on the entries we’ve already read — are that he’s not smart because he:

Doesn’t heed villager’s warnings

“Let’s” himself become a prisoner

Is nice to Dracula after he knows he’s a prisoner

Talks about his fiancée a lot (???????)

For the first point, we’ve gone over this, but here we go again — he doesn’t heed the villager’s warnings, no. But keep in mind none of them actually say “The Count is a super dangerous man!! Don’t trust him!!!” Here’s the passage:

“When I asked him if he knew Count Dracula, and could tell me anything of his castle, both he and his wife crossed themselves, and, saying that they knew nothing at all, simply refused to speak further. It was so near the time of starting that I had no time to ask any one else, for it was all very mysterious and not by any means comforting.

Just before I was leaving, the old lady came up to my room and said in a very hysterical way:

‘Must you go? Oh! young Herr, must you go?’ She was in such an excited state that she seemed to have lost her grip of what German she knew, and mixed it all up with some other language which I did not know at all. I was just able to follow her by asking many questions. When I told her that I must go at once, and that I was engaged on important business, she asked again:

‘Do you know what day it is?’ I answered that it was the fourth of May. She shook her head as she said again:

‘Oh, yes! I know that! I know that, but do you know what day it is?’ On my saying that I did not understand, she went on:

‘It is the eve of St. George's Day. Do you not know that to-night, when the clock strikes midnight, all the evil things in the world will have full sway? Do you know where you are going, and what you are going to?’ She was in such evident distress that I tried to comfort her, but without effect. Finally she went down on her knees and implored me not to go; at least to wait a day or two before starting. It was all very ridiculous but I did not feel comfortable.

So here’s the thing: you can see that the only thing the innkeeper’s wife explicitly warns him against is going to the castle that night because it’s a day in their culture where evil spirits are considered to have full sway.

The innkeeper’s wife does ask him if he knows “where he is going and who is going to” — he says no, but she does not speak further on the matter. When he asked about the Count before this, they just refused to speak! I know that may seem like an implicit warning — and it is — but some people on here act as if Jonathan was supposed to have known why they were crossing themselves and immediately have left? Like, he obviously feels uncomfortable, but as he states before and afterwards: he has a job to do. If you were in his position: a newly-appointed lawyer (or position of your choice), and you went to a place where the locals told you not to visit your client that night because it was a night where evil spirits would come out: would you honestly believe them? And if you asked about what your client was like and they just crossed themselves and refused to speak on the matter, would you simply leave the town and tell your boss “nah, sorry, the villagers warned me against him. I decided this client’s not for me”? I guess that honestly depends on you, but I would think not if you want to keep your job!! I know that’s not ideal, but to be fair, he also is not given a fair warning before going in.

There is also that incident in the carriage where he hears those villagers talking and he picks up bits and pieces (including the words werewolf and vampire) but a) they’re not talking to him and b) he doesn’t pick up enough to even indicate who they’re talking about!! In fact, he thinks they’re badmouthing him!!! (Which is understandable, he can only hear a bit and he’s translating on the fly). Again, how he is supposed to automatically know: “oh, Count Dracula is a vampire and I must flee this place immediately.” We know that because Dracula has been a pop culture icon for 100+ years, but Jonathan doesn’t have that kind of knowledge. I feel it’s kind of ridiculous to call him not smart for not knowing this.

However, and this is important, he does take some of this warning to heart. He does take the crucifix and the other vampire-repellent gifts the villagers bestow upon him, despite his skepticism and ignorance of the culture (thanks, English colonization /s). He feels uncomfortable and anxious before he even goes into the castle, literally saying goodbye to Mina in his diary in case he doesn’t make it back!! He keeps the crucifix in his room and uses it to ward off bad dreams and for safety against Dracula (which is not really how he’s supposed to use it, but he wasn’t really told how, so I don’t really blame him for that).

I don’t think a himbo would’ve picked up that something was amiss at any of these points, not until it was too late at least. I think for this test, just picture Kronk (or your fav himbo) in this situation. Would they even notice something was up? Or would they go cheerfully towards the castle?

As for the second point — this is kind of unrelated to the himbo question but — what kind of victim-blame mentality is this????? I have seen people unironically (at least I’m pretty sure it is?) post that Jonathan deserves the abuse he’s getting because he didn’t heed the villager’s warnings (which I already talked about above) and/or he’s “rude” to Dracula. I’m sorry — WHAT???? So if you’re rude to somebody they’re to allowed to lock you up in their castle???? That’s a fair trade? I beg your pardon?! Just…ok. Believe what you want, but maybe let’s not blame the guy who’s been a prisoner in a random stranger’s castle for a month and is sure he’s about to die? Yes, this is fictional and not that deep, but still — weird take.

Back to the himbo question, I mean, he doesn’t really let himself become a prisoner. He’s at Dracula’s castle for a job. Once he’s done with that job he’s ready to leave, but Dracula makes him stay because he literally locks him in!!! He then explicitly tells him he will stay longer and Jonathan has to accept because he is there in place of his boss, and saying no would be like speaking (negatively) for his boss — and Jonathan is not going to do that. Correct me if I’m wrong, but I don’t think a himbo would be able to see all of that subtext within that conversation. I actually don’t know this kind of interaction between a true himbo and Dracula would go, but I imagine not well. Dracula thrives off of interesting conversation and wit, as well as being able to maintain a facade of host and guest. I just don’t see if someone like Kronk could maintain that for long because he would probably be like “but I don’t want to stay longer, let me go” or something, which would end the “game”.

Moving on to the third point, he is nice to Dracula after he knows he’s a prisoner for a reason. When he realizes he’s locked up (which he realizes super fast, by the way), he sits down and has a good, long think about what he can do. More passage evidence!

“I am thinking still, and as yet have come to no definite conclusion. Of one thing only am I certain; that it is no use making my ideas known to the Count. He knows well that I am imprisoned; and as he has done it himself, and has doubtless his own motives for it, he would only deceive me if I trusted him fully with the facts. So far as I can see, my only plan will be to keep my knowledge and my fears to myself, and my eyes open. I am, I know, either being deceived, like a baby, by my own fears, or else I am in desperate straits; and if the latter be so, I need, and shall need, all my brains to get through.”

So he knows Dracula is up to something (or he’s jumped to conclusions) and either way, talking about it is a bad idea. The only way through is to act like nothing’s wrong for now and try to get information out of Dracula. Other than that, he’s going to need to use his brains! Yes, he does talk to Dracula and acts nice — but it’s with a plan and a purpose. Dracula has creeped him out from the start, but he has always been able to maintain good cheer around him. Now, he will put that to use.

So for this himbo test, it’s kind of similar to the second one. Were Kronk in this situation, he would make it by for a while because he probably wouldn’t notice the doors are locked. But once he did…I’m not sure if it would be like the second point where he’d immediately tell Dracula “hey why are all of the doors locked” and the game is up or if his shoulder angel/devil characters would come out to help him. I guess it depends! And to Kronk’s credit, he has figured things out before (e.g. figured out who Pacha was and in relation to Kuzco) *but* it took him like 12 hours after the fact and that’s not how Jonathan operates. Jonathan figures out things pretty quickly. Does he need time to think sometimes? Yes. But he’s pretty much always thinking and trying to figure out more once he’s at Castle Dracula. I just don’t see these two in the same vein here.

For the final point, I haven’t seen much evidence for this, but it needs to be addressed. I think sometimes people tend to equate WifeGuy with “no thoughts, head empty only for wife” and that can be true!!! There are definitely characters like that and I do love them so. Jonathan is undeniably a WifeGuy (and Mina’s not even his wife in name yet), bringing her up anytime he gets a chance. I would argue though that just because he’s in love and brings her up a ton doesn’t mean he’s also not clever and methodical. You can be in love and smart: these can coexist. Mina is a very smart character from what we’ve seen already and she’s in love too!

I don’t really have a Kronk case study for this one, but like anon said — I think Mina is attracted to Jonathan for his smartness and it goes both ways. They love each other for many other reasons (there’s a lot to love!), but I imagine that’s kind of the cherry on top for them.

Why does this matter? I think calling Jonathan a himbo is reducing his character a bit here. Again, I’m not saying being a himbo is bad, but it does discredit his methodical ways and strategy he has in the castle. His methodical nature is part of personality and pretending that doesn’t exist erases his character, in my opinion. Additionally, it raises the question: could a himbo become a lawyer? I…don’t think so…but maybe? Find me a himbo who’s a lawyer and prove me wrong I guess! Wait is Phoenix Wright a himbo…? Question for another time.

In conclusion, Jonathan Harker only passes 1 part of the himbo test (kindness) with flying colors. The strong test he only passes by the tail of his lizard fashion, and as for ditzy? He fails miserably. Recall that for someone to be a true himbo, they have to possess all three traits equally. Even if you could make the case for one, you’d still be missing another. So, no, I don’t think Jonathan Harker is a himbo. You can maybe argue with me that he has himbo moments (if that’s a thing, idk), but overall? No.

[vickyvicarious]

I went on to make a thorough examination of the various stairs and passages, and to try the doors that opened from them. One or two small rooms near the hall were open, but there was nothing to see in them except old furniture, dusty with age and moth-eaten. At last, however, I found one door at the top of the stairway which, though it seemed to be locked, gave a little under pressure. I tried it harder, and found that it was not really locked, but that the resistance came from the fact that the hinges had fallen somewhat, and the heavy door rested on the floor. Here was an opportunity which I might not have again, so I exerted myself, and with many efforts forced it back so that I could enter. I was now in a wing of the castle further to the right than the rooms I knew and a storey lower down.

Speculation time: why is this door not locked?

I think there are two main options. In the past I just assumed it was the first one, but now I'm a bit more open to considering the second, which changes the tone of what comes next a bit.

Dracula didn't think he needed to lock it.

First consideration: this is a ways away from Jonathan's rooms and the ones he usually has access to. It's possible that Dracula was less careful about locking away different doors in further reaches of the castle. After all, there are a few other rooms in the hall that are open but don't really have anything to hide. Going along with that consideration, the fact that the door itself was heavy and had fallen on the floor so seemed locked at first, may have been all the justification he needed. It's possible that he didn't think Jonathan would have been able to open the door anyway, so there was no need to bother installing a new lock on a broken door.

If this is the case, then his warning to Jonathan about not sleeping outside of his own bedroom may well have been entirely genuine. Dracula has decided that he wants to keep his solicitor around a while longer, and so he gave him a warning which should ensure he actually stays alive to toy with. He's genuinely surprised and angry to find Jonathan about to be fed upon when he returns.

Dracula knew it could be opened.

While the door is heavy and is stuck, it's not impossible to move. Perhaps Dracula knew that. This year, I have noticed that a couple of the moments where Dracula tells Jonathan not to do something can almost be taken as a challenge. It could match the way he is constantly pushing boundaries in other ways as well - verbally, physically, what-have-you - he is trying to press and find Jonathan's breaking point. So far, Jonathan has just kept bending, and in doing so has avoided snapping (and getting immediately killed). The fact that he obviously knows what is going on but goes along with it anyway is super fun for Dracula, and possibly a big part of the reason he is still alive/his stay has been extended.

But something else Jonathan has done - and will continue to do - is to resist where he can. He doesn't confront Dracula directly but he does sneak around and spy on him. He doesn't mention the many doors being locked including the front door, but he did run around and check a bunch of them. I talked about both the locked doors and the warning about sleep as bait the other day, so I won't rehash all of it... but if it was meant as bait that points to a couple key differences.

Firstly, that Dracula could still be testing Jonathan's limits where he isn't involved. Perhaps it isn't just the way Jonathan reacts to him in person that is so fun for him, but also the way he's always pushing limits in his own way. He takes cues and tries stuff! He keeps Dracula on his toes! It might be just interesting/engaging enough to be fun without being annoying (like any sign that he could actually succeed in escaping/any direct confrontation would be). In that view, Dracula might enjoy dropping hints that give Jonathan what looks like chances to learn things or escape, but which in his opinion won't get him anywhere. The fact that he is able to manipulate Jonathan's behavior with these type of comments could also be a part of the fun, extending his feeling of control over him even through Jonathan trying to resist it.

Of course, this means that Dracula was willing to take a chance that Jonathan would get drunk from first by his roommates, which is the second big difference. There's a couple options there as well: he may have been okay with it since they don't tend to kill immediately (at least until he saw it about to happen and then got more possessive than he'd expected to, and became genuinely angry). He may have wanted to test if Jonathan would ignore his advice but didn't expect him to make progress so quickly (perhaps expecting him to sleep in a different room like the library or hall if he slept anywhere outside his bedroom). This second option could overlap with the first bullet point too actually, where the warning was still meant as bait but Jonathan took way more of the bait than Dracula expected, and he wasn't actually supposed to get access to this room yet/ever. The only downside there is that every other time Jonathan disobeys Dracula he is faced with near-immediate negative consequences to 'punish' him. The ladies serve that purpose very well here, and if Jonathan was supposed to disobey but not meant to meet them, it makes me wonder what the consequence would have been supposed to be.

Still, I do kind of like that last option, because it fits with a recurring theme where Dracula enjoys toying with Jonathan... not realizing that the act of doing so is directly giving Jonathan the tools and information he uses to later defeat him (also contributing to big reversals/exchanged traits between them as Jonathan learns way more than expected). This repeats with Mina as well in a big way, when him establishing a mental connection allows her to spy right back on him. Perhaps Dracula is having fun right now watching Jonathan follow various bread crumbs of hints and try to figure things out and try new ways of escaping, all of which are doomed to failure. But, and this is later exemplified by his diary full of information which he manages to keep despite Dracula stealing all his other things, Jonathan is both accomplishing and learning more than Dracula expects or realizes at every turn. And all of it will eventually be turned against him.