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queers-gambit · 1 year ago

Text

Midsummer Night(mare)'s Dream

prompt: ( requested ) when Oliver's obsession reaches new heights, you fear Felix might return the affection - resulting in bloody flower petals suffocating you.

pairing: Felix Catton x female!reader

fandom masterlist: Saltburn

word count: 12.9k+

note: favorite trope here to stay

⚠️ you are responsible for the media you consume ⚠️

warnings: Hanahaki Disease AU: depiction of physical illness, medical phenomenon, blood, self-destruction; alcohol consumption, brief illicit material use and brief depiction of physical aggression, Lord's name in vain, cursing, angst, hurt and comfort, spoilers, AU timeline (obviously), "friends to 'strangers' to lovers", fix it Felix, "best friends" trope too, dead parents / family angst. requires maturity and caution.

When the first semester at Oxford started, something in your gut twisted with an unknown anxiety. Something in the air churned, a tide was turning, and there was something deeply amiss that you just couldn't put your finger on.

Your roommate was kind, your grades average with those that took education seriously, and your professors were decently challenging but in a good way. You didn't know what was wrong, why you suddenly felt anxious, but then, after asking your best mate why he was late to class the day of his first tutorial, Felix answered, "Had a flat tire."

You nodded, handing him the joint as you sucked in a sharp breath to hold the smoke in your lungs, "So you booked it?"

"No, actually," he chuckled. "Nice bloke named Ollie stopped t'help, offered me his bike."

You laughed, smoke billowing out, "Yeah? Tellin' me he just stopped and gave you his bike? Come off it - nobody's that nice. You flirt with him or something, Fi?"

"No, no, I'm serious! That's literally what happened!" He nestled his arm around your waist, "No, seriously, listen, right, I was on my way t'class, on time and all, yeah? Got a flat tire on my way. This lad, Ollie - Oliver - comes down the path, stops, asks what's goin' on, said he was in my college, so, he offered his bike 'cause he'd get it later, said he'd wheel mine back and all."

"Fuck off!" You shoved your elbow into his ribs.

"You only think people are out to do the worst, darling," Felix chuckled, flashing you a blinding smile. Neither of you could anticipate the series of events that this interaction would kick off. "Besides, he saved my fuckin' arse, I got t'class with enough time, didn't I?"

"Hmm," you agreed, a knot forming in your stomach as he handed you the joint back; both stretched out in your dorm bed as the thunder storm raged just shortly after you got back from class.

Perhaps you were too much of a cynic. Perhaps you grew up in a rougher part of the city with considerably less money, being skeptical of gestures of kindness. Perhaps you only knew people to be disingenuous.

Maybe you were just used to hearing these incredible stories from Felix Catton - certified spoilt best friend.

You grew up together; meeting as young children because your parents worked for one of the Catton's companies, your fathers having been childhood best friends, joining you two at the hip. You and Felix were two halves of one whole, a single functioning organism; becoming inseparable. You were meant to be soulmates, you were so sure of it, but in reality, it felt reassuring to have such a strong friendship that you never entertained the idea of romance.

Felix's friendship was genuine. It was built-on everyday, growing, evolving, forever changing to accommodate both your changing personalities. He accepted you for who you are, and it felt like he chose you everyday. Where others came and went, you remained. Where others abandoned you, there he was. There was no you without Felix and no Felix without you, and when the time came, you chose to attend Oxford together.

You knew how easy life was for him. You knew the silver spoon he was fed from. You knew he was the flame moths were drawn to.

Knowing Felix Catton was power-by-association, and you watched an endless slew of people come and go with the snuffed-out dream of being in his inner circle. You protected Felix (and the Cattons) from leeches and Felix protected you from, well, everything else. You were meant to be soulmates, you were so sure of it, and then everything changed the summer before senior year of secondary school when you moved in with him permanently.

Summer had just started, you were only two months away from turning 18, and then, a drunk driver drove your mother and father into a tree on the side of a road. There was nothing to be done when your parents were finally found, the EMTs assuring you they were dead on impact and did not suffer. You had been at home with Felix, who let you paint his toenails, the house phone ringing shrilly.

"Hello?" He answered for you, reporting your family's surname's residence. He hummed, then paused, looking at you. "It's St. Luke's Hospital, love?" Felix handed you the phone with curiosity.

When you reached for the landline, the nurse reported you were needed and asked if you had the means to get to them. You begged to know what happened, but all she said was, "There was an accident."

Felix drove you to the hospital.

Felix held your hand when you were lead to a private room, meeting a set of police officers.

Felix held you when you stumbled in shock upon being shown your parent's demise and Felix held your hair when you threw up after identifying bodies.

And the Cattons stood with you when the man responsible was sentenced to life in prison. They stood in the rain when you tossed two stones in the stream.

You lived with him from that moment on and sometime after, you accepted how in-love with him you were. He had always taken care of you, but that summer, he took care of you; being the glue that kept you together, the binding force that brought you into being, the reason you didn't waste away, give up, or lose yourself entirely.

When your final year before university began, you had to stomach the idea of loving him at a distance. He'd always been popular, charismatic, the sun at the center of everyone's galaxy that pulled all towards his warmth and light. But after losing his virginity at age 15, Felix was constantly running through partners and you didn't want to interrupt his "sexual awakening" despite the knife to the gut each girl stabbed. So, you kept your feelings to yourself and tried your hardest to be a staple in his life, and when you chose to attend Oxford, you made peace with the idea that you'd go another 4 years in silent denial.

Something about Oliver's little act of kindness just made you uneasy.

And then, the following night, Felix spotted his new little friend when you were out at the local pub and invited Ollie to sit at the table with you lot. You sat between Felix and Farleigh, India on your friend's other side - his cousin something akin to your own flesh and blood. After all, you had known them all for two nearly decades; marking you as one of the very, very few who could put Farleigh in his place. Eerily, you both shared a look of mild distain, but for very different reasons.

You didn't think yourself a jealous woman, but after meeting Oliver Quick in person, hearing him speak, watching him watch Felix, and witnessing how he interacted with everyone else, you grew uneasy in his presence. The night you met him officially, there was a funny tickle in your chest, and after a few too many coughs escaped, Felix whipped around at you instantly. "You gettin' sick, darlin'?" He asked, words drenched in genuine concern.

Oliver thought it was curious to use a pet name for a pretty girl while a different one was sat on his lap.

"I'm good," you assured, thinking the rain caused this reaction.

But as the night wore on, you coughed more and more. When Oliver got up to get the next round of shots, Felix, ever the sweetheart who had money at his disposal, scolded Farleigh for instigating the poor boy and stood with a note in his hand. Only you saw the real interaction of Felix subtly paying for the drinks, and when he returned, he set a glass of water in front of you.

He made sure you didn't drink the rest of the night, but you didn't want to - starting to feel unwell. "Fi, I'm gonna go - "

"Oh, no, love, c'mon, an hour longer," he pleaded as you stood. But he paused, examined your face, then standing without another word and tossed his arm around you, announcing to the table, "Right, we're off."

He ignored the jeers and complaints because he was swiftly escorting you away, and only when Farleigh clocked this did he scold the table to shut the fuck up. When you stepped outside, Felix was turning to you instantly, holding your cheeks in hand and using his thumb to wipe at the corner of your mouth.

"You're bleedin', love," he muttered, showing you his hand. You frowned and wiped the area yourself, seeing the crimson stain on the pads of your fingers. "Fuck. All right. C'mon, we can get you to the infirmary - "

"No, I don't think it's - "

"You've been coughin' all night and now you're bleedin'," he snapped, shushing you, "we're goin'!" When you just stared at him for a moment, he sighed, "I-I'm sorry, that was a bit more aggressive than needed. I'm just worried, love, you shouldn't be coughing blood."

"Might've just been smoking too much, yeah?"

Felix spoke your name with a hardened edge, staring at you for a long moment as neither of you wanted to back down. Finally, he cracked, "You're not gonna go, are you?"

"Nope. C'mon, I'm tired."

"Well, I'm stayin' the night incase you throw up," he declared, giving in and leading you towards your dorm.

"No, go back - "

"Not leavin' yah, love," he refused. "So, c'mon, tell me," he changed the subject, "what'd you think of Ollie?"

You sighed, "Nice enough lad, I guess."

"Told you," he grinned, weighing your heart to your feet.

For nearly every instance there after, you dreaded hearing Ollie's name or seeing him pop up at events. But that first night, as Felix dozed off in your bed, you were set on your knees, dry heaving in vain to free your throat from whatever suffocated you internally. When you managed to trigger your gag reflex, a stream of alcohol came spewing out - dotted with long, pretty, bright yellow petals.

You stared into the toilet, blinking in shock.

You always thought Felix was the human equivalent to a golden retriever with the disposition of a sunflower. In fact, there grew a small patch of sunflowers at Saltburn just for you; you and Felix planting them one summer together, kept alive after your parents died to bring you a little sunshine when you felt overwhelmed with storm clouds. After all, they were your favorite flower... Now being hacked out of your lungs in a ghastly, tacky mixture of blood, clots, and mucus.

As the year went, you didn't have another episode, but still did any and all research you could on your current phenomenon, wanting to avoid the hospital if you could.

The year flew by without much of a hitch, outside of Felix snapping on Ollie and distancing the lad from the group. However, just before exams, Felix came to you in need of help; saying Ollie's dad died, and being as he had both parents, he wasn't sure how to comfort the lad. It struck a nerve deep within you, going with Felix to talk to Ollie, and by the end, your arm had slung around the scholarship boy in pity, trying to talk him through part of his grief.

You didn't know the lad did his research on you and discovered you lived with Felix in his grand fucking castle because you were orphaned just before turning 18. It was the perfect "in", in Ollie's mind; a way to weasel close to you, solidifying himself to Felix.

You didn't like Ollie, he still made you feel uneasy, but you did pity him enough that you tolerated him. Now more than ever. He was back in the group before the day was done.

However, when exams concluded, Ollie was acutely aware that Felix attended the celebration to your exams - dressing you, pinning you for your accomplishments. You dressed and pinned Felix after his. And you both showed up for Ollie's exams, though, you dressed and pinned Farleigh as Felix did Ollie. He supposed it counted, still having the object of his desire back in sight; within his reach; staring at him with pride and a hint of pity.

It was exactly what Oliver wanted.

"Well, aren't you gorgeous?" Felix complimented when you arrived in the courtyard, dressing for the end-of-year ball. He stooped down to wrap you in a hug, giving a spin, and setting you on your feet as you laughed at his usual antics. "Absolutely a vision, love, seriously," he praised. "And I have a li'l something for us, hey?" He held up the champagne bottle.

"Christ," you mused, "what's the occasion? They'll supply cocktails there, Fi - "

"We're going to a funeral."

"I'm sorry?"

He sighed, handing you the bottle to dig in his trouser pocket and revealed a stone painted with the word, 'Dad'. Felix looked sheepish, "I thought we could do it for Ollie, yeah? Lad's had a real rough go of it all - "

"I think that's a nice idea, Fi," you cut him off, smiling in assurance, opening the wire on the bottle. "But first, a toast," you proposed, "to the start of summer."

"And end of exams," he agreed, taking the bottle back when you handed it over and popping the cork. He cheered as you drank first, taking his own, wrapping you in a tight hug. "We survived," he laughed, sighing after. "Really glad you were here with me through it, love."

"Yeah, me, too," you whispered, holding back creeping bile when your heart began to pound with harrowing tension. "All right, pretty boy, c'mon, sun's setting."

"Right," he pulled back, "I told Ollie to meet us in the courtyard."

"Which one?"

"C'mon," he laughed, taking your hand and leading you after him. You danced after him on your tip-toes, avoiding using your whole shoe and the high heel that elevated you off the ground several inches. "Easy, watch it, careful now," he teased.

"Hey," Farleigh greeted, watching you two go with a smile.

He bet Venetia that this was the summer you two got together. Felix had confided in him that he was considering the idea of settling down, having sowed his wild oats and being tired of running through girls like he had this past year. Farleigh never thought he'd hear such words from Felix Catton, but after seeing you and his cousin running off, he knew, it was only a matter of time before confessions were made.

"There he is," You pointed.

"Ollie!" Felix called, both of you jogging up to him. "Hiya, mate."

"Hey," He greeted you both as Felix didn't stop.

"C'mon, then! Follow us!"

Upon arriving at a stone bridge that passed over a thin stream, you let Felix explain what you were doing and why you were there. "So, in my family, we have this tradition, right? When somebody dies, we write their name on a, er, on a stone," he showed Ollie the stone he made, "and we chuck it in the river. My great-grandfather started it when his son died in the war. We've only done it for Y/N's parents and my dog so far, but... You know, I don't know, I just..."

"It helped, a bit," you filled in when Felix looked at you. You took the stone from Fi's hand and handed it to Ollie, offering, "Felt like our own private goodbye."

When Oliver took the stone and looked it over, Felix anxiously excused, "This feels a bit fucking stupid now."

"No. It's not stupid," Ollie insisted sincerely - only looking at Felix, like the whole world did. "Thank you."

"It's something, right?"

This lead into Felix explaining "what to do", Ollie taking a moment after. When he looked over, he saw Felix had positioned you in front of him, arms wrapped around your neck to keep you close, both screwing your eyes shut in prayer. It would've been endearing had this been an honest memorial...

When the stone was throw, it clattering into the mud on the embankment... A foreshadow you should've paid more attention to. This lead into you three sitting on the stone bannister, skipping the ball, sharing the champagne, and after learning about Ollie's poor living arrangements, for Felix to invite him home with you two. To Saltburn, setting in motion a series of unfortunate events.

That night, you stayed in Felix's dorm, asking, "Are you sure about this?"

"Hmm?"

"Ollie - coming home with us?"

"Oh, yeah, love, it'll be fine," he promised. "Gives us one more person in the house, that's never bad, is it?"

You couldn't answer, you didn't know.

Your first night home was memorable in the sense that Venetia, Felix's older sister, insisted on 'girls night' and locked you both in her room. "So? Did you tell him yet?" She rushed with an excited grin, pouring you both a glass of wine. "Farleigh and I have a bet goin' - "

"Tell who, what?"

She glared, "Don't play coy. You're in love with Felix!"

"Venetia!"

"Oh, shove off, I won't tell him - but does that mean you haven't either?"

"If I did, you honestly think I'd be here?"

"Well, yes - "

"He doesn't feel the same," you insisted, "and if I tell him, he wouldn't want me here anymore, it'd be awkward."

"You're absolutely insane if you think any of that is true!"

"Ven."

"He's mad for you."

"He say that?"

"Well, no, but I can tell."

"It's not gonna happen," you sighed, shaking your head. "Not with all his interests, and those interested in him," you explained bitterly.

"I think you should tell him," she nodded. "It wouldn't hurt to tell the truth, but it might give you both some relief. I promise, he doesn't want you out of his life, so, even by the off chance he doesn't feel the same, he'd still want you around. Oh, know what would be romantic? Writing him a note! You've always been a talented writer."

By the end of the bottle, you and Venetia had started drafting a letter; confessing your feelings and coming up with the grand idea to ask him to meet you in the maze if he felt the same. It was where you both went when wanting solidarity, being a place of worship for you both. The center of the maze was remote, private, being where your tears could be shed and secrets shared.

It felt fitting to meet there.

Your letter wasn't perfected to your standards until Ollie arrived. His first night, you began to feel that tickle in your chest again, and for some reason, you mistook this for 'butterflies' and decided tonight was the night. So, you snuck into Felix's room before dinner, knowing he was already out, and left your note on his bed; unaware that Oliver was watching through the crack in the bathroom door.

He slithered in when you were done, slowly approaching the bed, and fingering the letter. He plucked it in hand, opened the unsealed envelope, and read your confessional; requesting, that if he even had an inkling of returned affection, he'd meet you after dinner, in the maze. At the center, beneath the Minotaur statue.

Ollie stared at your flourish of a signature and instantly crumpled the letter, surging back into his room and shredding it into bits. He swept them away into the waste bin and adjusted his jacket.

"There you are!" Felix smiled, finding you in the hall. "Don't you look nice, darlin'."

"You always say that."

"I always mean it," he grinned, escorting you to the dining room.

Dinner was... Interesting, to say the least.

You were distracted by nerves only Oliver clocked, Venetia giggling and Felix the center of attention - as usual. He reached out a few times to grab your thigh, asking muttered questions in your ear, making sure you were all right after he noticed you had barely eaten. Oliver had to hide his amusement as you just seemed anxious, and when dinner was ended, he watched you scurry from the room as if the Devil was at your heels.

"Oh, is my darling girl all right?" Elspeth asked in concern.

"She had a lot of wine," Farleigh smirked.

"Ah, yes," Mrs. Catton waved off, and Felix stood from the table shortly after.

Oliver stalked by the windows that evening, catching sight of you, still in your evening gown, cutting through the mist to head into the maze. He smirked, hearing Felix in his room - but then catching sight of Venetia through a different window. A different part of his plan roared to life that night; meeting the sultry sister under the moon, both knowing you were waiting in the dark for Felix.

You paced in the cold. Your dress drug through the grass, bare feet tickled.

The hour drug by slowly. You lit another cigarette, watching the mouth of the maze.

The second hour rushed by. Your stomach knotted.

Three, four hours ticked by. And you were left standing alone, in the middle of the maze, coughing and wheezing.

You dropped to your knees when your ailment turned physically violent; fingernails digging into the mud as you choked and heaved, trying in vain to clear your throat. When you stuck your fingers down your throat, you threw up bile, dirt, acid, wine, and long, bright yellow sunflower petals - sobs soon wracking your entire being.

He didn't come... He didn't come. He didn't come.

You threw up twice more, blood staining your chest and dress; teeth outlined in red, the dewy taste of pollen left on your tongue. You sobbed until your head hurt, and sobbed some more; confusion and heartache taking over. When you managed to find your feet, you felt lighter, thinner, smaller, less of yourself than you have ever before.

A piece of you had officially cracked away, being spewed into the mud and grass at the base of the Minotaur statue.

When venturing back to your room, you gasped when you nearly smacked into Duncan. You stared at one another in mild shock, his eyes taking in your state and you quietly begged, "Please... Don't say anything to Sir and Mrs. Catton. I don't want them t'worry until I know what's wrong. I-I'm going to the doctors, Duncan, please, give me time to figure this out."

He nodded sadly, shocked by the blood left behind. The following morning, he didn't wake you... He let you sleep, demanding you be left alone to the waitstaff. When Elspeth questioned your absence at breakfast as Ollie entered the dining room, Duncan was heard, "Miss L/N was up early this morning, went for a run. She went back to bed, said she didn't sleep well."

"Oh, the poor darling," Sir James Catton tutted.

"Morning," Ollie greeted, careful not to let his excitement show over your empty chair beside Felix. Venetia was staring at her brother in near anger, confusing him, but distracted instantly by Oliver's arrival. Sir James greeted him first, Venetia followed, and Felix invited the lad to help himself to a meal.

You had sobbed the whole night, puking bits of blood as the flower petals tightened your windpipe; the tackiness making them stick like glue. You didn't know what to do - there was no way you could face the Cattons now, not after Felix surely told them that you would leave Saltburn (for good) soon.

But sometime after breakfast, there was a knock at your door.

"Come in," you bid quietly, debating if you should start packing or not. When Felix entered, he was holding a bouquet of sunflowers, smiling softly.

"All right, love?"

"What?"

He chuckled, "I'm asking if you're all right, we missed you at breakfast."

You just blinked stupidly, "Uh, y-yeah, guess I am."

"Good," he chirped, approaching you and handing over the flowers. "Got these for you, thought maybe you could use a bit cheering up?"

"Why would I...? Felix, is there - is there anything you want to say to me?"

"Uh, no? Not really, I mean, I was gonna see if you fancied coming with us to the field?"

You stared at him in confusion. "You... Don't want me to go?"

"Go? Go where?" He laughed, "Cause yes, I'd like you to go with us... To the field? I just asked you - you sure you're feeling all right?"

"Um, y-yeah," you swallowed thickly, petals peeling back down your throat. "Thank you, for these," you accepted the flowers.

"Figured, with your parent's anniversary comin' up, should keep you close, you know?"

You shook your head, "Wasn't even on my mind, Fi..."

"And I just put it there, Christ, Felix, fantastic job," he cursed himself, hand through his hair in stress. "I'm sorry, love, I didn't mean - "

"You didn't, it's fine - I-I mean, I'm fine," you assured, trying to stave off tears. "Actually, Fi, I'm feeling a bit tired, think I'll nap."

"Duncan said you were?"

"No, no, I didn't get back t'sleep," you nearly whispered, needing to clear your throat again. "You lot have fun, I'll find you later."

"Sure? 'S Ollie's first time," he taunted. "Don't wanna miss that, do yah, love? And we're reading The Half-Blood Prince together, can't miss that."

"I'll catch up tonight, promise," you nodded, "just tell me what chapter you get through."

Felix stared at you, reaching to pinch your jaw and pet his thumb down your cheek. He whispered, "Sure you're all right?"

You nodded, shaking off his touch, hating how easy it was to fall in love with him. "Just tired, pretty boy. Promise."

"All right, well... Find us later, yeah?"

"'Course."

But you didn't leave your room for three days, unable to control the vomiting spells, the blood, the pain, the petals... The gutwrenching heartache. Venetia checked on you damn near every other hour, sitting, resting your head in her lap, stroking your locks in comfort as you sobbed.

"Tell me what's happening?" She begged, unable to get it out of you yet. But you felt another wave, jumping from her embrace to rush into the restroom; sliding on your bruised knees in front of the toilet. She followed, and like her brother's done many times, gathered your hair to hold back. "Jesus fucking Christ!" She gaped, seeing the blood and long, bright yellow petals. "Are those - what the fuck is that!?"

You heaved greatly, throat shredding as blooms and stubby stems cut up your esophagus. When you stared at the devastatingly beautiful blooms coated in your blood, floating atop of the water, you looked up at your friend and confessed, "I'm in love with your brother."

"I know, babe - "

"And he doesn't feel the same," you sobbed; breaking down, panting for breath, Venetia dropping to your level to pull you into her chest. "I-I-I left him the letter, Ven, I-I-I asked him to meet me..."

"He didn't show?"

"I waited hours!" You wailed, finally breaking down after the past couple of years caught up to you. "He never came! An-And then, he shows up with flowers - with fucking sunflowers! - acting as if he never saw my letter! Acting as if he didn't know! Like - Like it's easier to ignore than confront!"

"Oh, sweet girl," she whispered, gently rocking you both as you couldn't catch your breath.

Neither of you attended dinner that evening. Felix showed up again, like he had everyday, asking if you were hungry while holding a plate of toast and mug of tea. But you had passed out in Venetia's arms, the fake blonde waving her brother away, doing her best not to snap at him - remembering she made you a promise that she wouldn't interfere. You feared if she got involved, you really would be asked to leave Saltburn and you had nowhere else to go.

The following morning, you were up before Venetia.

"Hey," she grunted, stretching in your bed after spending the night. "You all right? What're you doing?"

"Goin' for a run," you answered, lacing your trainers.

"How do you feel?"

"Well," you sighed, "pretty fucking foolish, but it's summer. Yeah? Best not to dwell on what I can't have..."

"But it's killing you, love," she sat up.

"I'll get over it," you assured, not believing yourself. "If he can act as if nothing's happened, so can I. Do me a favor, though, love?"

"Anything."

"Sit between us?"

She frowned, watching you head out of the room. When she peered from the window, she saw you setting off around the ground and flopped back into bed for another hour.

"Oh, there you are!" Elspeth gasped when you entered the dining room that morning - jetting out of her chair. "Oh, darling, are you all right? Gave us a fright - thought you were sick or something!"

"Just a wee stomach bug, I promise," you accepted her embrace.

"I'm glad you've joined us," she whispered. "Felix has been dreadfully annoying."

"I can hear you, Mum," Felix groaned when you two pulled back. "Ven, hop down one," He told his sister.

"No, no, stay put, love, I can sit here," you assured the siblings, taking the seat on the other side of the sister.

Felix frowned instantly. "Don't think I've ever seen you two sit apart all these years," Sir James teased, reaching to pat your hand. "Good to have you join us, darling."

"Thank you," you whispered, Duncan placing a plate before you.

"How come she's served?" Ollie wondered without thinking.

"Miss Y/N has been unwell," Duncan replied stiffly.

"Oh, tell the truth, Duncan," you smirked, "I'm just your favorite."

It spurred the family on, Farleigh offering you a look of confusion from across the table. You waved him off, not once looking to your left at Felix - only ever answering Venetia by looking directly at her, avoiding her brother.

Felix felt something in his gut shift as you avoided him more and more. Venetia all but moved into your room, or you into hers - not wanting you alone in this time of duress. Meaning, each time Felix tried to get you alone for questioning, his sister was driving him away. When hanging out as a group, you no longer were at Felix's side, but opted for Venetia and Farleigh's.

It left a gaping hole for Ollie to fill - happily.

"Did I do something, you think?" He asked Oliver one day, floating in the lake, watching you braid Ven's hair as she read from her copy of The Half-Blood Prince.

"No, just maybe," Ollie shrugged, "it's, I don't know, girl stuff?"

"I'm her best mate, she never avoids me like this," Felix frowned. Oliver hated how genuinely hurt Felix sounded. "Seriously, what did I do?"

"I couldn't say, mate. Maybe just let her cool off, come to you when ready," he advised, watching Felix nod sadly and stare at you from behind his sunnies. He craved Felix's attention that you so effortlessly warranted.

You didn't sit with Felix during movie nights anymore, opting for the furthest seat on the floor at Sir James' feet. You didn't spend the night in his room once, nor let him into yours. You weren't on his tennis team. You didn't share sunbeds.

You no longer met for midnight swims, something that made Felix explicitly sad. He waited with his feet in the water, but this time, you were the one who never showed up.

You didn't sit with him at meals, making his family acutely suspicious. Yet neither of you seemed at odds - so, what were the truly worried over? You acted as if there wasn't a thing wrong, but they all noticed the sickly state you took on.

You thinned out, you barely ate a fourth of your meals, you went on runs as often as you could - even in the sweltering heat. You barely slept, creating bags under your eyes, dull, lifeless hair, and a concerning docile attitude. It was as if you were haunting the castle, barely visible, making yourself into a shell of who you once were.

You simply weren't yourself and the Cattons had no idea how to help. Elspeth sent tea to your room. Sir James let you pick movies for family movie nights, but you never seemed interested. Farleigh tried to engage you on the daily, but nothing seemed to register. Even Oliver put on a show by approaching you at the lake, sitting beside you, trying to strike a conversation.

"Sorry, Ollie, I was about t'go for a run," you eased.

"Been goin' on a lot of those. Want company?"

"No," you refused.

"Sure it's a good idea?" He asked. "Been throwing up a lot, might make it worse."

This made you freeze from where you had stood, slowly turning to look down at him. "Excuse me?" You seethed. "You spying on me?"

"I can hear yah sometimes," he nodded. "You're hiding it from the others, aren't yah? The blood, the tears... The way you're wasting away?"

From a short distance, Felix recognized the angry look and body language you wore. Slowly lowering yourself, you hissed to Ollie, "You keep your fucking mouth shut or I'll make sure you're on the first train back to fucking nowhere tomorrow morning. Hear me? You don't know shit about a Goddamn thing, you don't fucking know me, and if you're smart, you'll shut the fuck up, Oliver."

He watched you with a small smirk; standing over him before vacating the lake's shore.

That night, Oliver heard moaning from the adjoining bathroom. Upon his 'investigation', he spied Felix in the clawed-foot bathtub; steam wafting from the water, sweat beading down his skin, and bicep pumping vigorously as he pleasured himself. But what infuriated Oliver was the subtle, nearly slurred and unintelligible moan of your name from Felix's mouth. It seems, despite his best effort to drive a wedge between you two, there was lingering emotion that neither knew what to do with.

You were withering away, and Felix was self pleasuring to you.

Oliver had to up the ante, but how? You avoided the Cattons on a rotating basis - not letting any of them too close to figure out you were devastatingly ill, except Venetia. And the sister wasn't about to spill this darkening secret of yours, she was loyal to a fault.

Only Oliver seemed to know this dark little tale, figuring Felix hadn't even admitted his feelings for you to himself. Perhaps why he found relief in the tub, releasing into the water with a tear falling from his eye over the idea that you no longer wanted to sustain a friendship. It was all terribly confusing for the summer residents at Saltburn. And yet, in an effort to feel closer to Felix than you ever had, Oliver climbed into the draining bathtub and slurped Felix's cum as if it were water from The Holy Grail.

It made him feel superior. It made him feel as if he were winning an endless race. Made him feel like he was validated in pushing you out in favor of himself - no matter the history between you and the Cattons. Made him feel like he was solidifying himself amongst the distant royalty and you were giving reason to be thrown out of Saltburn.

But he would underestimate the power of family.

He got a little too cocky the night he met Venetia outside, in the moonlight, with Farleigh watching from his window.

The following morning, there was a pounding at your door - a rare night Ven didn't sleep with you. When you opened the door, Felix came pushing in, looking purely distraught.

"Look, I know you're pissed at me for whatever reason - but I fucking need to talk to you, okay? Please - I-I feel like I'm about to lose my mind, Y/N, love, please - "

"What's happened?" You asked, shutting the door. "I was about to head out - "

"Please, love! Please!"

"Christ Almighty, all right, the fuck's goin' on with you? Hey? Looks like you're gonna give yourself a stroke," you approached him, caressing his bicep. "What happened?"

"He kissed her."

"Come again?"

"Fucking Ollie - Oliver! He fucking kissed Venetia!"

"When?"

"Last night, Farleigh saw them."

"Oh, love, c'mon, you know Farleigh doesn't like Ollie."

"So, he's lying? You think he's lying?"

"I didn't say that, but you're all worked up. C'mon, just breathe for a minute, gonna pass out from the way you're huffin' and puffin'."

"Please, be serious! This is serious!"

"I know it is, I'm just trying to be rational."

"So, Farleigh's lying."

"Well, I don't think so - kinda a huge lie t'tell, innit?"

"I thought so," he snapped, hand through his hair in anxiety. "I-I mean, how could he? How could Ollie do this - I-I mean, my sister? My fucking sister?"

"Love, if you're this worked up, just go talk to him," you tried. "Ask Ollie point-blank what happened."

"Would you ask Venetia?"

"No, darling, that's not how this works."

"Well, how will we know who's lying? Farleigh or Ollie?"

"I don't know - is this even something to lie about? What did Farleigh say?"

"He saw them - tonguing - practically eating each other!"

You sighed, "Love? You're not gonna want t'hear this."

"God, what?"

"Venetia's a big girl, she can tongue and eat who she pleases."

"It's bad form, though, innit? I mean - he's my friend, my guest, here under my invitation, and he gets with my sister?"

You shrugged slightly, "I don't know, Fi, but she's allowed to do as she pleases; Ollie, too. It's not like either are dating someone, hey? What? You jealous? Of your sister?"

"Fuck off with that, know that's not it," he snapped again.

"What is it, then?"

"It's another Eddie situation!"

You sighed, "Fi... You can't horde people, right? Ollie bein' here, he's free game to you, Farleigh, Ven."

"And you?"

"Fuck no, lad gives me the creeps," you blanched.

"Still?"

"Yeah, fuckin' still. Call it intuition, but there's something off, Felix. I know you don't want to hear it, but when I have ever been wrong? Huh? Tell me."

"You've not been."

"Exactly - I know a leech when I see one. So, you draw your assumptions, but perhaps what Farleigh saw is true, perhaps not - but you'll get more answers by confronting the truth than ignoring it."

He sighed, dropping to your bed, shaking his head. "Well..." He mumbled, "What do you think?"

You paused, "Doesn't matter."

"Does to me. Please, love, it's Eddie again and I don't - "

"All right," you relented, sitting beside him. "My money's on... Something happened, it's just a matter of what, exactly. How about we go to breakfast, see what the energy is there."

"Feels like I can't stomach anything."

"Your mother and father will be upset if we don't go down, c'mon," you whispered, standing, offering your hand. "I'll sit with you, and if you get upset, you can just lean into me, yeah?"

He took your hand, but didn't get up. He just stared at where you were conjoined, rubbing your hand with his thumb. "Does this mean we're fine? That things are... Are things okay between us?"

"Never not been fine, Fi."

"You've avoided me since we got here."

"I've been dealing with shit - "

"That you won't tell me about," he scoffed.

"Yeah," you agreed, his eyes shooting up to meet yours, "you're right, I won't tell you 'cause I can't yet. I want answers first... Then we can talk. I've gotta figure this out for myself, Fi."

"Well, I can help, you know?"

"No, you've helped plenty," you alluded. "C'mon, breakfast."

"Fuck's sake," he grumbled, finally standing, but tightening his grip on your hand. You lead the way to the terrace the Cattons decided to dine at that morning, being the last two to arrive.

There were two seats side-by-side.

"Good morning," you greeted the family that took you in, Felix silent and angry as he took his seat - but still pulled yours out.

"Morning."

"Good morning, darlings," Elspeth breathed from the head of the table.

"You sleep well?" Ollie asked as Felix whipped his cloth napkin to his lap.

"No, not really, mate," he grit, not looking at the boy and instead, reached for your hand. You handed him a cigarette, placing your own between your lips - both forgoing morning meals.

"We're 30 for dinner tomorrow night," Sir James informed the table. "Stopford Sackville has cried off."

"Oh, dear, that's a shame," Elspeth feigned sympathy.

"God, I forgot about fucking dinner," Felix tilted his head back, speaking between his stick as you lit the end of yours - then reaching for his after nudging his bulging bicep to warrant his immediate attention.

"Wait, who is coming to dinner, again?" Farleigh asked.

"The Henrys," Ven reminded.

"No, please!" Farleigh whined quietly.

"Who are the Henrys?" Ollie asked.

"Dad's friends," Ven filled in, Felix glaring at you as you laced your hand with his and squeezed in warning. "They're all called Henry."

"Not all of them," James corrected. "Just most."

"It'll be fun," Elspeth assured.

"It'll be being molested by Henry," Ven continued, swallowing a bite of croissant. "You know which one."

"Oh, I'll put you next to Oliver, then, he can molest you instead," Elspeth quipped, Felix strangling your hand.

"Don't," you whispered, Ollie's head cocking at Ven in an unspoken conversation. She hummed an amused chuckle. Felix glared at them both before looking back at you, silently begging you to let him snap. "Not right now, please, just breathe," you whispered in his ear, ensuring none others heard you.

"Oh, Oliver, I was going to say, we should do something fun for your birthday. Y/N's is at the end of the summer, we can combine efforts! A proper party! No Henrys, something actually fun. What do you think, darling?"

"Mum, you know Y/N doesn't celebrate anymore," Felix seethed with offense.

"Oh, I know, but it might be fun - a combination party?" She offered. "Darling?"

"If Oliver and Y/N would like it, I think it's a splendid idea," James agreed with his wife.

"I think Oliver looks like he'd rather throw himself out of a window," Farleigh chimed, everyone knowing to avoid asking you your thoughts since you couldn't celebrate without your parents - it just felt wrong. Like a betrayal. So, you no longer celebrated the day of your birth, but the Cattons looked for any reason to throw a party.

"What kind of party?" Oliver asked Elspeth.

"I don't know, whatever you want!" She insisted. "What do you think? About 100 people?"

"A hundred?"

"Or two! It invariably ends up being two, doesn't it, with this sort of thing?" She asked her husband, who hummed in amusement. She told Ollie, "Invite whoever you want. All your friends."

"What friends?" Farleigh leered.

"Oh! Oh!" James folded his paper messily in excitement, jumping to attention, "How about fancy dress?"

Ollie reached over and nudged Felix in curiosity, picking up on his angry demeanor. Your best mate looked down at you, making you lean your chin on his shoulder. "Oh, yes!" Mrs. Catton agreed.

"I can wear my suit of armor, Elspeth!" James giddily exclaimed with a childlike grin that made your heart weep gently.

"Good idea, darling," she agreed as Venetia stood hastily from the table; all knowing where she was going, and what she was going to do. "We could have a theme!" She distracted, you watching Venetia and knowing you needed to follow. She'd been caring for you in your illness, you could at least hold her hair back, too. "What about Midsummer Night's Dream?" Elspeth looked around for opinions.

"Lovely," James prasied.

"Bring on the slutty fairies," Farleigh mused.

"Awh, lovie, you'll still be the sluttiest fairy, don't worry," you teased, glancing back again and seeing Venetia escape inside.

"You wanna match my sluttiness?" He asked you.

"As if that was ever in question," you shot back, Felix offering you a small look. "I'll be right back," you excused yourself, standing from your seat but bending at the waist. You whispered in Felix's ear, "I've gotta go, 'M sorry, just keep calm, love. You're all right."

"Find me later," he requested, holding your hand a moment longer before letting you escape.

"So," James grinned as you walked away, leaning in towards his son, "how are things with you two?"

"Yes, darling, you two seem better! Did you finally tell her how you feel?" Elspeth asked.

If Felix was surprised by his parents knowledge, he didn't show; instead scoffing lightly, "Yeah, right..."

"Oh, darling - "

"She doesn't feel the same, Mum," he refused, sighing deeply - making Oliver's stomach coil. "Just leave it, all right? We're just friends, only ever gonna be just friends - she's part of the family. No need to mess all that up."

Farleigh smirked subtly and took a drag from his cigarette.

While hosting the Henrys for dinner, you felt another tide turn while sitting amongst the rich and fabulous. You knew them all, of course, grew up knowing them and attending these dinners with your parents. But something was amiss, something churned your stomach and clenched your heart.

You felt your chest tickle and tighten, the desperate need to cough nearly strangling you; Oliver paying close attention to your struggle from beside Felix. You coughed unexpectedly, seeing blood splatter onto your plate and without a single person noticing, you got up, excused yourself, and rushed from the dinner table with a hand over your mouth. Duncan swiftly cleared your place setting.

"Hear that, love?" Felix turned to look at you, only finding an empty seat. He looked around in case you were mingling, not spying you, and slowly got to his feet.

"Where are you going, darling?" James asked, "Sit, sit - "

"I'm only going to check on Y/N," he explained.

"No, no, sit, sit, sit, we know she's been fighting her stomach all summer," James waved off, and slowly, Felix went against his instinct and sat down. Venetia felt her heart steel in annoyance, wishing her brother would just wake up and realize what was happening.

When Oliver caught Venetia's eye, she questioned, "Felix warned you off, then?"

"Well, maybe we just need to be a bit more careful," he hushed.

"No, thanks," Ven refused, not one to sneak around her own home to satisfy her brother's jealously and possessiveness. "It's just sooooo disappointing," she snipped. "You're just another one of his toys."

"Like Y/N?"

"Y/N's not a toy," she barked.

"You're upset," Oliver noted.

"Oh, don't worry, I'm used to it - honestly. I mean, he never liked sharing his toys. Even the ones he doesn't want to play with anymore."

Oliver cocked his head, wondering, "Well, he's kept Y/N around this long."

"Y/N isn't a toy, Oliver, not to Felix, not to this family," she sneered in anger. "And he won't ever grow tired of her, she doesn't hold a temporary position in his life - unlike most." She chuckled dryly, "Honestly, do you not get it by now? She's the gatekeeper, and you're just a passing interest. You won't ever truly be his because she already is, and there's no replacing Y/N L/N - not to Felix, not in this lifetime." She offered a fake smile and turned from him to face her left, distracted by one of the Henrys.

Oliver knew all that, and he was working on removing you from the portrait - but it seemed, maybe he didn't have to work too hard. A rare disease had infected you the moment Oliver Quick laid eyes on Felix Catton - eating away at you internally, making you lose interest in yourself, plaguing you with self doubt to the point you couldn't look in a mirror without seeing a stranger. When Oliver decided to act against the pretty, rich boy, he started a chain of events that lead here: him, in a tux, at a dinner party, and you, shattering the frail skin on your knees from how hard you dropped to them - spewing blood, wine, and sunflower blossoms.

You choked harshly, make up ruined from your blood, sweat, and tears; hacking out most of a put-together flower. Your throat was shredded, dripping blood down into your lungs to slowly fill them again - floral growth breaking the barrier of your organs, sending unimaginable pain through your body.

You heard the karaoke begin, heaving over the sounds of drunken antics. You slowly crawled out of the bathroom, sniffling as you used your bed to lift your fragile body to your feet only to strip from your gown and crash into bed. Weakness invaded your muscles, exhaustion coated your bones, and your eyes stung with the endless supply of tears that would stain your cheeks.

Morning came far too quickly, and with it, Farleigh's forced departure from Saltburn. You were all dreadfully confused, Venetia explaining he'd been caught nicking items from around the house to sell for a profit - perhaps feeling desperate, wanting to help his mother without needing to ask for the help.

You weren't sure what to say to the situation, so you said nothing, but felt desperate to scream for your own help at the top of your lungs. The closer Ollie's birthday drew, the more you bent over the toilet, the more blooms that tore from your lungs and esophagus. You were at a loss over what to do, fearing you were too late for a doctor, and on the hottest day of the year, while everyone was outside by the water, you were inside, scouring the vast and random library.

"Miss," Duncan leered from behind you, no longer causing fright. "Is there something I can help you locate?"

"No, I'm just doin' some more research, Duncan, thank you, though."

"On what's wrong, Miss?"

"Yeah," you frowned, storing another book. "Nothing answers my questions, nothing explains this condition."

"Hm," he considered, "may I?"

"Please," you gestured him forward, watching in mild curiosity as he moved the ladder, ascended, looked over the spines of the many books and then made his selection.

"I've read every book in this library, and think this might help," He explained, handing you the dark green book about Japanese lore and watching you instantly finger through it.

You eyed him for a moment, asking, "You haven't told them, have you?"

"I found your request for privacy reasonable," he nodded, "and have not told the masters of the house."

You nodded, breathing in relief. "I promise, I'll tell them soon - when I figure this out."

"I think you already have," he mentioned, glancing at the open book in your hands. When you looked down, you had paused on a page titled: Hanahaki Disease.

The chapter was filled with detailed accounts of previous patients and sufferers; all giving a recollection of their battle with the unknown illness. You looked up at Duncan in shock, rereading the passage that told you what you needed to know:

"Hanahaki Disease can be fatal by making the infected vomit flora; either just petals or full blooms. There are three known variations of the disease, but all are caused by unrequited love - making the process often long, drawn out, and incredibly painful. The first variation involves the infected confessing their love to their desired, and that love being returned. This is the cleanest way to cure Hanahaki Disease. The second variation includes the desired not returning the known affection, leaving the infected to undergo surgery, a viable but messy recovery. The operation removes the plants growing in the lungs, but in turn, also removes all known traces and memory of the desired - but it does result in the infected being cured. The third and final variation is the worst, where the infected confesses, the desired does not return any affection or want, and leaves them to suffer until the bitter, bloody end. Without care or caution, this disease can become unmanageable with common side effects including but not limited to: blood loss, weight loss, avoidance, isolation, fear of food, fear of living, fear of affection, miscommunication, blood from other bodily orifices, and uncontrollable depression, anxiety, and other mental afflictions. Most infected never fully recover from the aftermath of this disease, and even when their love is returned, they are often haunted by the damaging effects of unrequited love."

You stared at the passage in shock, looking up slowly to spy Duncan staring at you in pity.

"I had a companion like you are to Mr. Felix, once," he confessed. "I was dedicated to my job, loyal to the Cattons, and in turn, he suffered greatly because I couldn't love him how he deserved." Duncan blinked at you twice in the silence that stretched between you. "My advice, Miss? Do not wait - you should come clean to Mr. Felix, let him decide how he feels, and should he not return your affection, I will take you personally to the hospital, where you might choose to undergo the procedure."

"And lose all memory of Felix? Of the Cattons? Of Saltburn?" You asked in desperation, tears swelling in your sunken eyes. "Not likely, Duncan, they're my family. I couldn't bear to forget them, even if it means I should live - I wouldn't be alive anymore. Not without him, not without this family that took me in without a moment's hesitation. I'd lose myself."

"But you'd have the chance to discover something new," he argued gently. "You have your own decisions to make, Miss, but I can only tell you my deepest regret was being so far up Sir James' arse that I missed the life that passed me by. And now," he sighed, "I live with the fact that I condemned my beautiful Roger."

"I'm sorry for your loss, Duncan..."

"I do not wish to see you suffer more than you have been," he frowned. "But I understand the fear you have, emotions are terrifying, especially for the young. But love is not conditional, Miss... Remember that. And having only a part of Mr. Felix would result in losing yourself entirely, whereas losing a part of him would result in you rediscovering all you are. Just... Just something to think about."

"How did you find this?" You asked softly.

"After Roger, I had no reason to care for much else other than the written accounts of those who passed before me. It felt like I was given a life to live, if only vicariously. I've read them all," he reminded, gesturing to the grand library, "and when I found this, I knew I had my answers. That being afraid costs us more than being brave."

You read the book in its entirety. You soaked in every recorded account.

Duncan's words weighed on your heart, and the last few nights leading up to Oliver's party were spent on bruised knees. Venetia still slept in your room a few nights a week, begging you to seek medical attention, and you promised her, after the party, you'd take action. She didn't need to know you were lying just yet.

But as it seemed, your lies were minuscule in comparison to others.

The day of the party arrived, Felix taking Ollie out for a drive as a birthday present. Where their destination was, you didn't know, you couldn't care, because watching them drive off the property dropped you to the ground as your heart felt as if it were physically shattered. You couldn't breath, the sunflowers strangling you from the inside, and after watching the love of your life drive off with another lad, you felt as if your fate was sealed.

That was it.

He didn't love you, he had Ollie. There was only so much love to be given at a time, and Ollie soaked it all up. You didn't stand a chance, you knew Felix's infatuation was out of control with Ollie's pitiful background piquing his interest. You felt like old news, you felt abandoned, alone, cold, heartless...

"What're you wearing tonight?" Venetia asked, tossing pieces of clothing around. "Felix is wearing these sort of golden wings, want to match?"

"What are you wearing, love? Maybe I'll match with you?"

"No, no," she grinned, "I've just found the perfect outfit for you!"

She squealed in excitement, turning to show you the dress seemingly made out of strips of fabric and a corset; creating an ethereal look and design. The color was pale, moss green with shimmering pale golds and nudes paired amongst the fabric. It created an illusion that the mini dress moved and swished around your thighs, and when she handed you golden gladiator sandals, you were sold.

Venetia spent more time helping you get ready than she did herself. She ensured your hair was pinned off your neck, that your make-up was mystical and covered in glitter, corset cinched at the waist to show your figure, and that you had a smaller pair of golden wings to top off your slutty fairy look.

Farleigh would've been proud.

The dress showed off your back, only thin straps keeping it in place as the wings were small enough that you weren't hidden under them. You showed more skin in that dress than you had all summer, your thinning frame tailored under Venetia's talented fingers.

Her hands clapped when you showed her the final look.

"Love the spider web chain," you complimented, clipped her in.

"Sure?"

"It's a look, Ven, you're stunning," you complimented, smiling at your friend with genuine kindness. "C'mon, I think I can hear people arriving."

Once more, Venetia squealed and snatched your hand, racing from her room and leading you into the party on the grounds as the sun was beginning to set. After greeting Elspeth and Sir James, complimenting their chosen costumes, you were sucked into a night of young debauchery; Venetia pinned to your side.

And thankfully, she was there to witness the moment you gave up. Moving through one of the darkened rooms, you were mingling with old classmates, happy to see familiar, friendly faces, and just as you turned, your glass shattered to the floor with the last bit of your heart and composure.

You saw Felix, clear as day, dancing with none other then fucking India - the girl you felt most in competition with, besides Annabel. He was so close to her, they were practically fucking; seemingly distracted by one another, they didn't even notice the party.

"Oh, love," Ven turned to you, but you just gave her a pained look.

"I'm gonna go," you rushed.

"No, wait - "

"I need to be alone, Ven," you insisted, the tears starting as your chest felt too tight in the crowded room. "I told you, I fucking told you, he doesn't feel the same," you sniffled, her eyes widening as you felt a familiar metallic taste in your mouth.

When your hand lifted, you smeared blood from your lips and nostrils, blinking in recognition - knowing what was to come next.

"I-I-I have to go, 'M sorry," you rushed, blood oozing and dripping down your neck in artistic scribbles. You didn't bother hiding this time, turning from your fellow drunkards to escape outside - heading for the maze, like you always did when needing to be alone.

Your room wasn't safe, anyone could find you there. The entire home was overrun with party-goers. The grounds surrounding Saltburn unsafe for your breakdown, as well.

So, you raced to the one place you felt safe anymore: the maze.

Your blood stained the shrubbery as you stumbled through it, trying to hold together, but the moment you reached the Minotaur statue, your legs gave up, mud squishing to your knees, and instantly coughing, hacking, and heaving blood from your lungs.

Long, pretty bright yellow sunflower petals came out in an abundance, the most it's ever been, before you were vomiting full blooms again.

You felt woozy, dizzy... Less than human.

You just wanted it to stop.

When you left Venetia's side, she noted you beelining outside and knew immediately where you had run off to. In unfiltered anger, she turned and shoved through the crowd up to her brother, grabbed him by the strap of his wife beater, and yanked him after her.

"Oi! Hey, hey, hey, Venetia! What the fuck are you doing!?"

"You've fucked up!" She raged, ignoring the looks from others and lead him outside so they could hear each other.

"Are you out of your mind?" He demanded.

"Are you!?" She sneered. "The fuck are you doing!?"

"What?" He scoffed, "What am I doing wrong, dancing at our party? Hmm?"

"With that skank!?"

"Hey!" India barked, having followed them outside.

"This doesn't concern you!" Ven barked, Felix feeling on-edge with his sister so enraged.

"You're talkin' about me, I think it does!"

"Ven, what the hell's gotten into you - "

"It's about Y/N!"

Felix froze for a moment, then looked at India, "Go inside."

"What!?"

"Piss off, India! She's right, this doesn't concern you!" He snapped, the girl scurrying away with her tail tucked firmly between her legs. When Felix looked at his sister, he demanded in a rush, "What about Y/N? Where even is she - "

"I promised her I wouldn't intervene, I swore I wouldn't say anything - especially to you, but you're such a fucking idiot, if you're not fed anything, you don't get it!"

"Is this really the time to insult me?"

She glared, steeling her jaw and gritting, "Y/N's in the maze."

"Okay? She goes there - "

"No, listen to me," Ven sneered. "She's been in love with you, Farleigh and I both figured it out - but it was really fucking obvious."

Felix blanched in shock, "What?"

"She's in love with you, you fucking idiot! She's been sick the whole summer because you can't love her back!"

"How - what are you on about!?"

"She's been throwing up blood, you're honestly killing her by doing what you're doing with all these girls! By ignoring whatever you feel - by denying it repeatedly! It's not fair! All she's done is love and support you, care for you, protect you, and you're fucking killing her!"

He blinked, "She loves me?"

"Yes, you fucking imbecile! And tonight was her last straw, I fucking saw it! She lives here, you jagoff, and you're dancing with India - right in front of Y/N? In her own home? Where she's supposed to be safe!?"

"I-I didn't - I didn't know!"

"No shit, because you're both fucking idiots who talk about everything except your feelings! Do better, Felix! Now, go! She needs you to be a fucking man - go! She needs you, Felix, she's in the maze, don't fuck this up more than you have!"

He didn't hesitate to shoot off in the direction of the maze, Farleigh catching sight and pushing his brows together before realizing he was sprinting after you - I mean, who else would Felix move that fast for? Into the maze Felix went, and Farleigh knew, everything was about to change. Elspeth and Sir James didn't notice a thing, too distracted by their party, but there was another watching; a set of dead, ghostly blue eyes nearly glowing in the night as they locked onto their prey fleeing the party.

Felix sprinted his way through the maze, an expert at navigating, and when he made it to the center, his own heart constricted to a suffocating depth.

"Oh, my girl," he rushed to your side, getting on his knees and holding your weakening body as crimson dribbled from your mouth. The pool of blood was grand enough that he worried how you'd make it through the night; floating sunflowers a hauntingly beautiful sight in the dead of night. "Hey, hey, you're okay, you're all right, I got you - I'm here," he whispered, smoothing hair from your face. "It's me, it's your Felix, love, just focus on me, yeah?"

And finally, with a sniffle that did little to nothing, you looked into his eyes with yours rimmed in red. "Fi..."

"Don't talk, save your energy, I'm gonna get you somewhere safe - "

"I've gotta tell you something."

"Tell me after we get to your room, yeah?"

Your head shook, "If I wait longer, it'll get worse."

"Sweetheart, please - "

"I'm in love with you," you finally confessed to him, unable to look him in the eyes for a second longer. You stared at your demise, blood soaking into both your knees. "Have been, I think, since I moved in here," you whimpered, "and after my parents died, I fell so fucking in love with you that it hurt. But out of fear of losing this friendship, I couldn't - I couldn't tell you. And now, it's killing me, but you deserve to know: I'm so fucking in love with you, makes me physically ill. I-I can't do this anymore, Fi, I just can't - the pain is too much and I've already lost so much - "

"Felix?" Ollie called in a drunken whine, entering the center.

"Oh, Jesus Christ, man!" Felix snapped, whipping around to glare at Ollie as you folded into his chest out of sheer pain. Of course, in the midst of your confession, nobody but Oliver fucking Quick would show up. "Get out of here! Now, Ollie, I'm not fucking joking!"

"Is she all right?" He asked, stumbling a bit.

"What the fuck are you still doing here!? Get out, fucking go, this doesn't concern you!"

"We need to talk, I need to talk to you!"

"It's fine, talk t'him," you wheezed, trying to get to your feet, but failing out of sheer weakness.

"No, you need to fucking go, Ollie! Now! Y/N and I need to talk a helluva lot more than we do!"

You used his shoulders to stand, "Talk t'him, Fi, don't let this shit happen t'someone else." He glanced to your blood as you let go of him, stumbling just out of reach, towards one of the maze exits.

"We need to talk, Felix!" Ollie demanded as you slipped out of sight.

"No, you know what? Fuck you!" He barked. "You're not what's important right now, Ollie! For fuck's sake!"

"Don't go after her," Ollie sneered, stepping in Felix's way when he climbed to his feet and meant to go after you.

"Fuck is wrong with you, mate!?" Felix raged, shoving Ollie back several steps. "Hey? So fucked in the head, you think you take precedence over my girl?"

"Y-Your girl?"

"Fucking Y/N!" He shouted. "Yes! My fucking girl, that I was so blinded by you to fucking see what was wrong! Now fuck off!"

"She's nothing - "

"SHE'S FUCKING EVERYTHING!" Felix shouted, you pausing in the maze when you heard it. "You and I can talk later, if I even fucking want to, but right now, my girl needs me - not fucking you!"

"I see she's got you so blinded - "

"You think Y/N's the problem here?" Felix sneered, getting in Ollie's face; fisting the lapels of his blazer. "Huh? You blaming her?"

"No, just saying - "

"All the wrong fucking things," Felix shoved him back again. "She's all that fucking matters to me!" He shouted again, you slowly nearing the entrance into the center of the maze, remaining hidden behind a shrub. "Not you, not all your lies - but her! It's always been her, but you fucking knew that, didn't you!? You saw what we were, what we had, what we could've been, what we were dancing around, and just had to wedge yourself between us, yeah? I didn't see it before, but your fucking lies - all your fucking lies, you were trying to ruin the best thing in my life! And you might've just succeeded!"

"She doesn't deserve you! None of them do!"

"What the fuck is wrong with you, Oliver!?" Felix cried, "Leave me the fuck alone! Leave us the fuck alone! Leave my family the fuck alone! Christ! Please, stop!"

"We need to talk!" Ollie now approached Felix, making him back up into the statue.

"We can't - we can't, are you fucking crazy? Haven't you ruined enough!?"

"Me!?" He snarled. "I didn't ruin shit, it was her! It was all her, don't you see? You pitied us against each other, I had to do this! For you! You can't just throw me away!"

Felix lost his temper, shoving Oliver again, "Get the fuck away from me! I can! I can and I will throw you away - for her! I'd do anything for her, don't you fucking get that!? I didn't see before, but now I do, the slimy, scum you are - and I'd throw you away a hundred times if it meant being with her! Fuck out of here, leave us alone!"

Oliver shouted as he grabbed Felix's shirt, "Look, I just gave you what you wanted!" His voice lowered to a quiver, "Like everyone else does. Everyone puts on a show for Felix! So, I'm sorry that my - m-m-my performance wasn't good enough, like Y/N's always is."

You crept from the shadows, neither lad noticing; intrigued by the words being slurred, shouted, and weaponized.

"I think... I think you need to see somebody," Felix whispered, not willing to admit aloud that Oliver was scaring him. "You need help, okay? Seriously."

"No. No, I don't," Ollie sneered - sounding almost sober. "I just need you to understand how much I fucking love you."

And there it was - another confession. Your heart (or whatever was left of it) felt heavy, like it was being constricted and anchored to your feet.

Felix whispered, "I love Y/N, mate, you have to know - wasn't exactly a huge secret, except to us. To her and I, not you and I, Ollie."

You felt something akin to shock spark in your gut, blooming an unknown warmth through your body.

Oliver begged, "You're the only friend I ever had, Felix." His thumbs pet Felix's face despite him trying to wriggle away; being touched by the psychotic liar terrifying him - but no more than the feeling of dread he had watching you stumble away. "Okay... I mean, doesn't this just prove how much - how much of a good friend I actually am? How well I actually know you? I'm still the same person! Yeah?" He whimpered, "I'm still the same person."

"I don't know what you are," Felix whispered in reply. "But I do know you," he paused, confessing, "you make my fucking blood run cold." His head shook, "I know friendship - and it's not this, Ollie, it's not built on lies and deception. Y/N? She's everything to me, mate, and you tried to ruin that. You're a fucking liar, Ollie."

He gagged a little, releasing Felix to stare at him with a sense of defeat. Oliver gagged again, shoving the opened champagne to Felix's chest, muttering, "Wait there a sec," before stepping away to throw up on the opposite side of the statue. He knew the other boy wouldn't be able to resist an open bottle of alcohol.

However, Felix felt it was his opening to escape, and when he looked up, he caught sight of you.

Your finger rose to your lips in a silencing motion, glancing at a puking Oliver, and Felix didn't hesitate to drop the bottle and race for you. When his hands smoothed over either of your cheeks, he checked behind him - seeing Ollie still at a distance - stooping to scoop you in his arms, whispering, "We have to go, love, fucking now."

You agreed and let him rush away into the maze, and before you could exit, Oliver was heard bellowing, "FELIX!"

"What the fuck was all that?" You asked, hiding yourself in his neck; neither caring for the blood being stained.

"I'll explain everything in a minute, love, let me get you somewhere safe," he rushed, the party sounding around you once more. He deflected anyone who got in the way, shoulders bullying past people, ignoring his name being cried out. Up the stairs, down a hall or two, and he was rounding into your room. "All right, hang on," he deposited you on your bed, rushing into your restroom and locking all the doors except the one connecting your room. The main door was also locked.

"What's going on?" You asked.

"He's a liar," Felix panted, wrangling from his wings as he approached you. "But it doesn't matter right now - what matters is our truth. You were interrupted before, but I have to tell you, sweetheart, that your affection isn't one-sided. Okay?" He knelt before you, taking both cheeks in hand. "You're not alone in this, I-I should've told you so much sooner, but I love you, too. No, no, I'm - I'm in love with you and I'm so sorry I didn't say it. Hear me? I'm in love with you, Y/N, I'm so sorry I was selfish, that I didn't see the pain you were in that I was causing."

"Wasn't your fault," you whispered.

"It's all my fault."

"I should've said something, too."

"You're the one who's been suffering all this time, this is on me. Okay?" His head shook, wiping the streams of blood from your nose and lips. "You're a fucking wreck, darling, should've said something so much sooner - saved you from all this pain."

"I was afraid, and didn't want you to know."

"I made you feel as if you couldn't talk to me," his head shook. "Listen to me, I-I have to go warn Mum and Dad about Oliver, but you stay here - "

"You're not leaving," you insisted. "Call Venetia's cell or Farleigh's, tell them whatever you're worried about, and stay here, with me, where you're safe. I don't know what I heard, but I don't think Ollie's well in the head and he's gonna gun for you."

He sighed, "They won't answer. The party's - "

"Just try..."

He agreed and grabbed his cell phone from his pocket, dialing his sister as he got you a wet cloth. She answered when he was knelt in front of you again, wiping the remnants of your near-death experience from your face as he explained at a rapid speed a condensed version of events.

When Venetia assured she would tell Elspeth and James, he hung up and brought you in for a tight hug. "Should've told you," he whispered, "I'm so sorry."

"I am, too," you whimpered, holding onto his neck tightly.

"C'mon," he sighed, pulling back to gaze at you, "let's get you changed and in bed - 's been a fucking nightmare tonight."

"How fitting."

"How so?"

You half-smirked, "A Midsummer Nightmare's Dream, innit?" He matched your fleeting amusement.

That night, you and Felix slept beside each other in a secure and locked room; both unconscious when Oliver approached your door and tried to get in before being apprehended by two footmen. He was locked in the basement for the night, given the chance to sober up before morning, when the police would be phoned.

When the sun broke the horizon, Felix woke with a start. You were already awake, looking up at his pale face, begging him to tell you the truth behind Oliver. He looked as if he would be sick, giving you a detailed summary of what happened the day before - all the lies Ollie told, how his parents were alive, well, and very kind. How nothing he's told Felix was true - all some form of fucked up lie to make him seem more broken for Felix's endearment.

"Am I that bad, love?" He asked in a hushed tone.

"No, you're just... You just have an affinity for broken things," you answered. "And he gave you what you wanted, tenfold."

"I feel so stupid."

"For being kind?" You shook your head, caressing his cheek.

"Not very kind t'let you suffer in silence, was it?"

"You couldn't have known how bad it all was, I wasn't exactly truthful either."

"You protected yourself, while Ollie... Ollie put on a fucking show to get attention, to seem so different, make me feel like I'd be a fool to ignore him," he scoffed. "I'm so sorry, love," he whispered, resting his forehead against yours. "But I meant what I said - you're fucking everything to me and I'd throw everyone away if it meant being with you - keeping you."

It felt so good to assure him, "You have me, Felix. 'M not goin' anywhere."

He smiled gently, sighing in relief, asking, "Can I kiss you now? Please, love, think we've waited plenty long enough."

You didn't answer, you only lifted you lips to his and sealed your fate - meshing into one heart, soul, and one being. Two halves, made whole; cut from the same cloth and stitched together. His tongue swept across the seam of your lips, mingling with yours and never knowing when he had felt so complete while kissing a woman.

Because he hadn't. Everyone else before you was a place holder, temporary, a fleeting interest. You were a part of him, never wanting to experience life without the other, but as the house slowly woke up, you were both reminded of reality...

There was still a madman to be dealt with, and Felix wanted a front row viewing to ensure Oliver Quick was truly gone and your lives in a relationship could finally start.

requesting rules and masterlist

Saltburn masterlist

other Hanahaki Disease fics:

featuring: Eddie Munson from Stranger Things

Cherry Blossom Colored Kisses

Tears in the Rain

Gone with the Sin

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nofingjustaninchident · 10 months ago

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Helloo!!! im in such a Jason Grace era these days and fics for him are SO limited in the fandom?? its actually super sad. i loved your previous jason fic smm, Would you consider making a Jason x fem!reader where Jason just has a veryy bad day, he gets overwhelmed by everything and everyone, and he just cries into reader's arms and she comforts him?

i feel like he deserved to just cry it all out atleast once, considering the amount of pressure the poor boy has had from everything :( so i would lovee to read about that!

⛧° as long as we're together °⛧

⛧° 。 ⋆ ⋆ ⋆ ⋆ ⋆ ⋆༺♱༻⋆ ⋆ ⋆ ⋆ ⋆ ⋆ 。°⛧

content: jason grace x fem!reader

warnings: angst but then it’s fluff, kinda short, cursing, 5’3 (1,60m) reader, life in New Rome!

a/n: HA LOOK WHO’S POSTING TWICE IN JUST ONE DAY???? hehehe i love this request so much my boo deserves more in his life i don’t fucking care.

⛧° 。 ⋆ ⋆ ⋆ ⋆ ⋆ ⋆༺♱༻⋆ ⋆ ⋆ ⋆ ⋆ ⋆ 。°⛧

Sometimes it’s just too hard to be Jason Grace.

The mighty son of Jupiter. Pontifex Maximus. Counselor of the Zeus cabin. Juno’s Champion. Hero of Omlympus. Centurion of the Fifth Cohoort.

The titles were endless. And so was the work.

And everyone, and i mean everyone, counted on him for various things and reasons.

“Hey Jason, are you coming to capture the flag?” Annabeth asked, every week.

“Hey superman, come to bunker 9!” As always, Leo wanting to show him some new cool tricks or projects.

“Oi, sparky! Can you help me pick an outfit for my date?” Piper would ask him.

He was just so tired. He just wanted to tell them all to fuck themselves.

But he would never. He was too noble to do that. He just wouldn’t be able to live with himself if he knew his friends were needing him and he was… well, being a human and an young adult, taking care of his own stuff.

So when he got home from another endless day, back to his shared apartment in New Rome and to his beautiful girlfriend, who made him his favorite dessert - brownies with caramel and peanuts -, he broke down almost instantly.

Obviously, you ran towards him, scooping him in your arms - which was a difficult task, since he was almost a whole foot taller than you - but you did it anyways, pulling him close to your body, letting him sob in your shoulder as you tried to soothe him.

You had never seen him cry like that, clinging on you for dears life. Once again, he was never one to show his real feelings to anyone, not even your or Thalia.

You scooted him in your arms, rubbing soft circles at his back while you whispered small ‘shh’s and ‘it’s gonna be okay’s in his ear, the both of you say in the floor of your cozy apartment.

After a few minutes of compulsive crying, your shoulder and the upper part of your white tank top completely soaked in hot, wet tears, he finally calmed down - at least a little.

“Hey, honey.” You finally whisper into his ear as he pulls away from your embrace, eyes all puffy and red as he sniffles and wipes his tears with the back of his hand.

“Hey..” He mumbles, his tone low and cracked as you kept caressing his hair smoothly. You caressed his hair and gave a soft and gentle kiss so his cheek.

“Are you okay?” You were answered with a soft nod of his head as he scooted closer to you, snuggling against you warm body and keeping his head on your chest. He looked like a five year old child, and that made you smile. “Do you want to talk about it?”

“No.. not now. Is that okay?” He asked, his voice all mushy and muffled by his cheek tightly pressed against you body.

“Of course it is, my love. Do you want to eat? We have pasta with that sauce you like.” She said between little kisses in his eyes, his cheeks, the bridge of his nose and his lips. “And i made you your favorite brownies.”

“Mmhmm…” He let out a content mumble, finally pulling away from him and giving you a kiss on the lips. “After that i… after that i’ll talk to you, ‘kay?”

“‘Kay. But you have to eat before. Come on, i’ll help you get up.” She said as she got up and held out her hand for him to grab.

You finally got on your feet, and you turned around to reheat the food. When you were at the oven, he wrapped his arms around your waist and nuzzled his face into your neck, breathing heavily as he kept the closest he could to you.

Soon, the food was on the table, and the doorbell rang. It was the girl that walked with your dog. You thanked her and pulled Thor, your golden retriever, inside the house.

He immediately went to Jason, wiggling his tail and giving him the biggest licks in the world while the blond laughed.

You smiled at the sight. You knew that he was obviously hurting with something, and you were going to discover with what, but, right now, he just needed some love.

You gave him just that, as you ate together chilling and chatting about your days, you talking more than him.

He helped you with the laundry while you washed the dishes, and the chores were finished very quickly. You went back and cuddled up on the couch, a massive ball of fur, aka your dog, resting comfortably between you two.

You heard when Jason sighed and felt his shoulders shaking, showing his impending collapse, once again. You cyy it deles him closer to you as he cried and cried. His sobs were the only thing heard in the house.

Ten minutes later, when he was calmer, you were stroking his hair in the softest way you could, making sure he would be ready to talk.

“I-i’m just so… tired. Of everything and everyone. It’s- i know it’s selfish, but i can’t help but want to just… ran away. To just stay with you and Thor and give up on the rest of the world.” He said, his words are muffled and smudgy as he holds onto you.

“I know, baby… You shouldn’t work yourself out. You’re doing too much. More than you should, and you know that. You have too much work.” She said, kissing the top of his head.

“I just- i can’t let them just, you know, alone. It’s.. i can’t.” The son of Jupiter said, crying more.

“Honey, they won’t be alone. We have Reyna and Frank and Percy and lots of other people that you can use some help from. You’re not alone. Ever.” She said, reassuringly.

“But-“

“No buts. You’re gonna take a week off, and we’re just gonna hang out here, together, with Thor. No works, no college, no Pontifex Maximus stuff. Just y/n and Jason. And that’s not a request.”

He mumbles something but snuggles closer to you. “Fine. As long as we’re together.”

a/n: i’m literally so proud of myself bro, i got to do two, TWO works today. i’m evolving boos

#postcards from leah #jason grace x reader #jason grace x y/n #jason grace #jason grace x you #percy jackson #pjo #pjo hoo toa

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cat3ch1sm · 2 years ago

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🐇~ HI EVERYONE! welcome back to my account :) im excited for today’s post because this is my first across the spiderverse writing! i hope you guys like it lol i couldn’t stop thinking about it (spiderman is my entire life now)

🐇𓆩♡𓆪☁️ fem!reader, sfw

𝐩𝐫𝐨𝐰𝐥𝐞𝐫 𝐦𝐢𝐥𝐞𝐬 𝐡𝐚𝐯𝐢𝐧𝐠 𝐚 𝐜𝐫𝐮𝐬𝐡 𝐨𝐧 𝐲𝐨𝐮- 𝐡𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬 <𝟑

~ miles g really does not like admitting he likes someone/ or even the idea of liking anyone at all. he obviously has things that are higher priority and he thinks it’s really a waste of time for the most part.

~ but then you come along,and he’s immediately enamored. like, imagine you’re just casually walking by miles while he’s sitting on his phone or whatever, and you accidentally bump into his leg. he looks up immediately to tell you to watch it, but instead is met with the most beautiful face he has literally ever seen. he legit double takes and completely forgets to even talk. you look down abruptly and are like “oh, i’m so sorry, i wasn’t paying attention!” you wait for him to say “it’s okay” or something like that, but when you look at him his expression is just blank. you kinda wave awkwardly and leave after that, and he watches you leave until you’re out of sight.

~ after you’re gone, he just sits there for a second before frowning and cursing at himself for being so caught up.

~…. “shit.”

~ miles g isn’t really the type to watch from afar, at least not for long. but for a short time, he does just watch you, admiring the way you do every little thing- smiling at your phone, the way you walk, how nice your voice sounds- things like that. it’s not long before he decides to make his move.

~the next time he sees you, he makes his move, cornering you when you’re alone and putting one arm beside your head so you can’t leave. needless to say, you’re definitely caught off guard when you turn around and are met with miles’ face- expression nonchalant and that unreadable glint in his eyes as usual.

~ yeah, don’t be fooled. miles is nervous as all hell and praying to every god imaginable that you don’t notice him shaking. but he isn’t the type to let fear or apprehension get in the way of something he wants.

~ “hey, you’re that guy i ran into the other day… um… hi!”

~ your smile almost makes him keel over. Jesus Christ

~ “hey, ma- glad you remember me. was wondering if you was tryna let me take you out sometime? i thought you were pretty.”

~ (yes, the whole atsv fandom has collectively agreed that prowler miles would call you “ma.” argue with the wall)

~ miles is crazy nervous for your response as he watches your expression furrow thoughtfully- but when you smile that smile again and say yes, he feels like a million weights have been lifted off his shoulder. sure, he’s the prowler, but he’s still a 15-year-old boy who probably hasn’t had a lot of experience in the dating arena.

~anyway, that was a fun little scenario- now let’s talk about miles actually going out with you, like how he is during the time where you’re going out but not quite exclusive.

~ the second he gets your socials, he’s all over them. he’s spending an amount of time he isn’t willing to disclose just stating at your pictures and admiring your beauty. he watches your TikToks religiously, liking them all, but literally immediately scrolls past the ones where you’re with any guy. he’s not jealous because he isn’t insecure, but he just does not care to see you with anyone else.

~ whenever you text him, unless he’s busy with prowler stuff, he’ll respond within like ten minutes at most. miles doesn’t want you to think for a second that he’s ignoring you or forgot about you. he has caught himself smiling slightly at his phone while he’s texting you every now and then, which he is so embarrassed about for no reason😭

~ yes, uncle aaron notices.

~ “aye, g, what’s got you cheesin’ at yo phone like that?”

~ “…nothin’, unc.”

~ “you know i can tell when you lyin’, right?”

~ “aw, c’mon-“

~”don’t even bother.”

- and rio notices, too.

~ “ay, miles, why are you on your phone so much lately? you know i don’t like- miles? what’s so funny on your phone?”

~ “nothing, mama.”

~ “nothing’s funny? then why are you smiling at your phone?”

~ “…uh…”

~ “waaaait…” *pause, hands on hips* “miles, are you talking to a girl?”

~ “mami!”

~ “so it is a girl! is it the same girl whose pictures you’ve been looking at lately?!”

~yes, she noticed that too.

~ “…mami!!”

~ “let me see!”

~ the next two minutes are miles and rio madly wrestling for his phone. (spoiler alert, rio wins.)

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midnight-glasses · 11 months ago

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💚 ✨Happy birthday, Laito✨💚

Guys, today is a very important day for me. I know I haven't been very active, but I want to get back to Fandom as soon as possible! Diabolik Lovers is an important part of me as a whole. It feels like yesterday was the day I discovered the anime; however, it has been many years. I discovered anime when I was nine years old, back in 2015, and I have had a love for games, anime, and manga for a long time. However, it was only in the middle of 2021/2022 that I discovered a fandom that is still so alive after years... However, some people are probably wondering why today is a special day for me and where I want to go with this simple speech: today is my beloved character's birthday!

HAPPY BIRTHDAY LAITO!

This fedora hat shading your emerald green eyes and your somewhat complex and captivating personality, this character who certainly was a great source of trauma for the unaware, this utterly deplorable and broken character represents a lot to me in different extensions and senses depending on the time when I consumed it. For my 9-year-old self, it was my love for vampires and my continuous hyperfocus being fueled. For my 12 and 14-year-old selves, it was a great source of comfort and affection; it also served as a discovery and a reminder of past experiences which unfortunately I had to go through and endured throughout my years of life. At 19 years old, it signifies my profound love for broken characters, Otome games, and it has been the main impetus for me to currently seek a deeper diagnosis regarding my neurodivergences. This character helped me deal with experiences that I had blocked and didn't know how to process. This character isn't everything, but it means a lot to me. That's why I say happy birthday, you stupid vampire! Thank you for being a part of my life and introducing me to such wonderful people on the internet.

I would like to thank everyone who has had contact with me, you are all wonderful people!

@afra-blueraz, @eyelessdoll-y, @dialovers-translations, @dialovers-lover-xoxo, @sekai-takoyaki, @everything-laito, @diakaoniii, @yuma-mukami-garden-god, @rukiyui-fanblog, @its-irsaa-fyp, @benevxllain, @/carlatsukinamistolemyhamsandwich, @kauze-bridgerton/@kauzebridgerton, @callmeklair, @hanakohanabe, @yuikomorii, @kindan-no-kanojo, @laitoscupoftea and everyone else I didn't mention, you guys are a fraction of the wonderful people I have met here, and I will be very happy if you choose to continue this wonderful path for as long as you can feel comfortable, because you are an extension and a very important part of my life even though I have never seen any of you in person.

I didn't come here just to give this thank you without at least bringing something in return to celebrate this cursed vampire's birthday. By the end of March, I intend to release some headcanon or story about or for him. Thank you all, and happy birthday, Laito!

#diabolik lovers #midnightglasses #diahell #diabolik lovers laito #dialovers laito #laito sakamaki #sakamaki laito #diabolik lovers fandom #midnightglasses tumblr #midnightglasses random #midnightglasses talks

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amerricanartwork · 1 year ago

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True Love Conquers All (Lilypad Essay cont.)

Ever since I realized the fairytale parallel was one of the main reasons I ship Lilypad, I've wanted to draw this, so here it is! Sig and Moon as Prince Phillip and Princess Aurora!

Actually, though, besides the drawing I'm also making this because I wanted to expand on that point from my Lilypad essay; there's still more I wanna gush about regarding the fairytale parallel!

I was too nervous to say it before, because it's derived largely from my personal tastes. However, I really wanna just write about my opinions on it now. Much of it's actually the feelings I've had about several ships before in various other fandoms, yet I've never really had the courage to express these feelings openly because I have yet to find even one person in any of these fandoms who feels the same way. However, I started thinking about it again, and I think it's about time I get it out somehow, at the very least to express these feelings in some tangible way so they don't stay bottled up forever. And maybe, just maybe, to find someone who likes these themes as much as I do!

Again, it's definitely very personal, so I don't mind if you completely disagree with all of it. But with that being said, if you want to read an additional 1,846 words on Lilypad fantasies, it's just below the cut!

To elaborate on why I love ships with fairytale parallels so much, it has to do with the poetic feeling stories like Sleeping Beauty seem to carry. I must preface that I don’t know the original fairytale, I’m pretty much entirely going off the 1959 animated Disney film, but even so I still love various themes within it and how they can be applied to other stories. Sleeping Beauty isn’t the only old Disney movie where I interpret these themes, or even the only animated story in general where these themes can be interpreted, but I think it’s overall the most similar to Lilypad specifically because of the whole “fair maiden dies and gets revived by the prince’s love” dynamic.

Something I’ve come to realize, especially upon developing a love for Rain World specifically, is that I adore stories about accepting one’s own nature and learning how to have it coexist with your personal goals rather than conflict with it. Sleeping Beauty has this not only through the eternal bond between Aurora and Phillip (I mean, “Once Upon a Dream” literally seems to be about how the singer will always love the person they fell for even if their love seemed too good to be true), but in the whole curse put on Aurora and the “true love conquers all” message. The conflict is all about how to ensure Aurora’s safety despite the impending doom of Maleficent’s curse on her, which is made more intense by how the curse can’t really be stopped, only lessened in severity. However, the inevitability of true love’s triumph over all obstacles, and really the inevitability of nature as a whole, is just so beautiful to me because it’s something so universal. As much as we may try to hide it, we humans are still animals, and still a part of nature as much as any other animal is, so the idea that forces as powerful and omnipresent as natural phenomenon could just as easily be on your side and working to help you reach your goals instead of trying to hurt you and keep you from them is very comforting specifically because of how powerful and inevitable these forces are. I mean, if forces like those can pose a seemingly impossible challenge when they seem to oppose your goals, what if they could also supply seemingly invincible support if you learned to work with them? Hence, why true love conquers all. It’s basically, “I can’t stop this thing, but maybe I don’t actually need to”. And the fact that both this and the next theme I’ll write about are present in stories which are, by this point, quite old, and can even be interpreted in newer and more recent stories just helps to further support their eternal, everlasting power by adding a sense of real-life timelessness to it all that I just find so beautiful!

Part of my love for stories like this actually comes from a specific natural force I freaking love and have been craving more of ever since I rewatched the old Disney movies and really begun to appreciate the poetic themes of them, and that force is the classic attraction between men and women. I’m not gonna get super into it now because I imagine I’ll have other chances to talk about this (again, Lilypad is far from the first ship I’ve derived this theme from, and I doubt it will be the last), but I’ll provide an intro of sorts to it here. If you’ve seen my full Lilypad essay you already know I’m a BIG fan of “inverses attract” ships, where the characters display opposite sides of the same base trait, conflict, or subject, and when they come together they help balance each other out in ways no one else can by offering each other the benefits unique to the other side of that subject. Well, simply put, if you ask me, what better example of this “inverses attract” dynamic exists in real life than the natural inverses of male and female, where the strong protectiveness and creative nurturing combine to literally create a family, from which all people come? The presence of the inverses attract dynamic is always nice to see in ships regardless of gender, but whether or not it occurs in this way specifically — that being whether or not it showcases the inverse characteristics of men and women and the positive potential when those forces combine as a team — is another major factor that, throughout my fandom experience so far, has determined which pairings I actively ship rather than just mildly smile at from time to time. (And on a side note, now that I have much more skill in art and feel more confident about my art, I figured it’s about time I start acting on that love more openly!)

So what in the WORLD does this all have to do with Lilypad?

Well, even disregarding how this very idea will basically be the major theme of my personal worm-off-the-string AU (I may elaborate on that more later because it’s just SO perfect for these particular characters and can even be interpreted in the base game to some degree), I think Lilypad, at least as I choose to imagine it, is the Rain World ship that best embodies this idea — that nature and instincts can actually help you once you simply stop fighting and accept them — more than any other in the fandom for a variety of reasons.

I’m actually going to start with how Looks to the Moon and No Significant Harassment, as strange as this may sound given who and what these characters are, actually do still display that feminine and masculine energy I love at least when I picture them, especially with Sig being confirmed as a “he” according to the wiki. It’s clear to me that Moon is very feminine (I mean, c’mon, her design in the CGs, how the moon is often associated with femininity and feminine things in real life, how she tries, even after her collapse, to connect with Five Pebbles and nurture their relationship in a very caring way, etc.), but I wanna elaborate on how part of the reason I love Sig as a character and the slag reset keys as a plot point so much is because it perfectly demonstrates that masculine protectiveness that happens in stories like Sleeping Beauty, where a man faces great trials all to rescue the fair maiden. Again, it may not have happened literally because Hunter had to deliver the slag keys, but the sentiment is the same if you ask me! And it’s always so nice to see because, again, he literally brought her back to life! How could it NOT be a sign of deep love and devotion that someone would go through so much trouble just to make sure you’re okay?

It’s also great because I imagine the local group would have a tendency to not always take Sig seriously because he’s so careless about their purpose, so I’m sure the slag key stunt would also warrant a lot more respect for him from the other iterators. This is another thing I love seeing — both when the character everyone else overlooks finally uses their full power and their peers have to re-evaluate their impression of them, but specifically when men feel inspired to use their full power and skills to help the women they love! I love it because it demonstrates just how powerful and valuable femininity can be, shedding light on a more subtle kind of power, that being power through influence and aura rather than raw strength and stubbornness. Heck, I like to imagine wanting to protect Looks to the Moon and make sure she lasts as long as possible is a major reason why, in my AU, their physical interactions are when Sig and Moon finally begin to act on their love despite it having existed almost since Sig came online. Moon’s collapse would’ve shown both of them directly that she won’t be around forever, and if you ask Sig, someone as beautiful, kind, intelligent, noble, and all-around beloved as Looks to the Moon deserves to at least enjoy her life a little more before she fades (again), even if all the iterators falling apart is inevitable. But, coming back to what I said about nature, the inevitability of the eventual end is what makes the time they have left all the more precious!

And that’s the next part of Sleeping Beauty and fairytale-esque stories I see in Lilypad — there’s also the inevitability of this dynamic, which hits hard with Rain World iterators specifically because their whole purpose is fundamentally opposed to natural phenomena. Solving the Great Problem is, as far as I know, all about trying to escape the natural cycle of life, death, and reincarnation, and likely about escaping all natural cycles as a whole. And the iterators exist specifically to facilitate this rejection on a massive scale. So think about how poetic it would be that even they, seemingly so far detached, so far above these things, STILL fall in love and embrace these forces despite every attempt by the Ancients to prevent them from doing so! It’s made better by the fact that the iterators are machines and, even though they’re very much biomechanical ones (a big example of natural phenomena still manifesting in them despite their attempts to separate from it), one can argue they’re therefore somewhat detached from nature inherently, especially that bond between masculinity and femininity I discussed. So again, the fact it still finds a way to show up in them despite seemingly having much less reason to exist and the iterators themselves likely having much less desire to possess it just re-emphasizes how eternal it is. But once again, are they (and by extent, we the audience) sure that’s such a bad thing?

Lilypad in an ideal scenario, to me, is of all the Rain World ships the strongest embodiment of “true love conquers all, and that’s not a bad thing after all!”

And it makes me more eager to develop my worm-off-the-string AU because I imagine that’s where their relationship really gets to flourish. Moon and Sig can finally enjoy that physical aspect of romance, and Moon in particular would, by that point, more confidently join him in rejecting the Ancients’ ascensionist philosophy. Not to mention how cute it would be to see them drawing parallels between their relationship and the love the Ancients used to feel for one another long ago, once again supporting true love as a truly timeless phenomenon. And it would branch off to not just embracing their romance that existed for so long but could never fully go anywhere, but learning to enjoy and partake in all the aspects of the world that were denied to them and that they were told to deny for who knows how long! And when it comes to not just for Sig and Moon, but the local group as a whole, what could be more poetic than that?

-.-.-.-.-.-.-.-.-

Man, a HUGE thank you to anyone who made it to the bottom of all this! To know that anyone bothered to at least consider what I have to say in this fandom is always nice, but with this in particular I greatly appreciate anyone who read it all! And again, PLEASE let me know if you agree with any of this, especially the parts about masculine-feminine teamwork. I'd love to know even one other person in one of my fandoms who's into that as well, and maybe even hear possible additions to it!

Regardless, I've gone on about this for so many words already. I hope you enjoyed the ideas, or at least the art! Thanks again for reading!

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batsplat · 7 months ago

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if you were to direct a motogp movie (or make a one season of television) what season or rivalry would you make it about? and more interesting what artistic liberties would you take? it doesn’t have to be a straight up biopic bc imo those are often boring, instead it could be something like velvet goldmine (1998) aka fictional characters whose real life counterparts are pretty obvious, veering in like rpf territory. anyways👀

did you know. one time this guy put a curse on this other guy. and he never won a race again

anyway, look, I do feel like by this point that's the BORING answer from me, but obviously it's where my mind first went. I'm not sure I'd actually want it out there in film form because by now it's badly enough remembered that it's like, my cute little niche story, and I think there's something fun about the Wider World even within the motogp fandom not exactly getting how bonkers the whole thing was. (I know other humans have canonically watched motogp 2004 but I swear even journalists have forgotten some key key details and it's kinda annoying but also fun.) bold words from someone who's been blogging about it!! weird gatekeep-y instinct. but basically my job here is done as far as outreach is concerned - I wrote a very long post, now I get asks about it twice a week that allow me to think about it some more with the four other people who care, perfect balance. that rivalry doesn't need to go mainstream!! the whole point of it is that it's kinda cruel but narratively pleasing that it's gone under the radar, because it's another sign valentino won. but obviously, I cannot literally make a film about this, so the hypothetical repercussions I think maybe we can put aside for a moment here

okay I came back to this bit of the post after I increasingly got into of the spirit of coming up with dumb ideas, but it did make me flesh out what I'd even WANT from something like that. I'm with you anon, a lot of biopics are boring!! if you want to just know what happened, please just literally go and 'watch the races' and 'read books' like what are we actually getting here. you kinda want to give it a purpose for existing, right, a way of portraying real/mildly fictionalised events in a manner that is also taking some kind of stance on the material AND is doing stuff you can't do 'in real life'. thing is, look, you could make 2006 into a film, and I'm sure it'd be perfectly nice because it's fundamentally a solid underdog story (well, inherently winning a title with repsol honda is NOT being an underdog but you can write it that way), but also what are you doing beyond just telling people what happened? I feel like that generally about single seasons, they're not really doing anything for me. I was also turning around the biaggi/valentino rivalry in my head in part because that's the one valentino gave as his answer for 'rivalry he would turn into a film' (marc big wet eyes sitting right next to him), but like. a film about that rivalry from valentino's pov is fundamentally not something I'm interested in. you have all these isolated very memorable moments that make it work as a rivalry, like you can absolutely spin them into a dramatic yarn that goes through the genesis of their conflict to middle finger gate to punching gate to assen + donington + sachsenring + phillip island 2001 and it's basically *insert rousing music* successful coming of age. at most you can lean into the fact valentino became successful at being a dick. like idk it's fine but also what's the point? valentino is challenged in a sports context by biaggi, he's challenged because he realises his words have consequence and the press actually reports the words he says to journalists (the horror), but he is fundamentally not challenged on a personal level. that's the entire point, right? it's the ultimate comfort zone rivalry - biaggi is a dick who it is quite easy to hate and also reacts poorly to valentino's initial provocation. the animosity escalates and it is inherently fun to beat him. valentino is mean to him, but it's not like he even really crosses any lines to beat him. like you can make it into a film, and if you twisted the material a little bit you could make it satisfying, but I don't want to!

now the way the writing process of this post worked was that I was going to breeze through a bunch of non-sete/valentino rivalries and explain why I think some of them don't work for our purposes here, but then I ended up writing myself into changing my mind. so my take on the biaggi rivalry is that actually, you CAN make it work but it has to be from biaggi's perspective. basically, I think you've got to amadeus it (a web weave I have been thinking of making at some point btw). so,,, it's a meditation on talent and how unfair it all is, maybe minus the bit where salieri poisons amadeus (I know that doesn't happen in the film) or dresses up as amadeus' father to, y'know, make him write a requiem on his death bed. and it's not amadeus in that HERE, the clown prince gets a happy ending! but it's more like, in thematic terms, I think you have to zero in on this bit. biaggi didn't have parents who shoved him on a bike when he was three years old, he didn't have parents who were invested in his motorcycling career (or even necessarily particularly invested in him), he started the sport late and discovered that, yes, he did have a prodigious amount of skill in it - but one that he started honing far later than valentino did. he approached his career with a sort of grim resolve, surly and irascible and not interested in making friends with any of his competitors but very, very good. he goes away from the race track and dates all these models, he irritates fellow riders, he's not part of the gang and he's happy about it. he's very successful! four 250cc titles, wins his first ever race in 500cc at a time when doohan was very much winning everything. he's also just like,,,, an interesting and spiky enough character it's not hard to make him come alive

but then of course you have this gradual emergence of the amadeus character, the one who challenges his established position in the court of,, well... motorcycle racing, and also as the guy italians rooted for! and valentino's obviously, y'know, in so many ways the exact opposite from biaggi, and he's super young and cheerful and lively and is doing all his silly celebrations and is being a bit camp and goofy and treats motorcycle racing as a party (you really want to lean into the culture clash here, like in amadeus it's because you have stuffy austrian court vibes but here it's because everyone is having their bones broken every two minutes and just how... kinda grim a lot of motorcycle racing was). and he's also this innocent! yes, he insults biaggi, and yes, in retrospect we know valentino is kinda evil, but at the time he was a kid with a big mouth who was a little taken aback by how that biaggi feud sort of escalated beyond what he'd actually intended it to do! and biaggi just, hates him. and I think, sorry to the real man max biaggi here, but you've got to play with how once they're actually competing with each other, it's miserable how there's just this unbreachable gulf in talent. like, whatever biaggi does he cannot win! he isn't going to defeat valentino over the course of a full season! which is depressing and horrible and CRUEL, because there's this inevitability to the whole thing... and also! because valentino doesn't DESERVE it. and you don't have to go full salieri pleading with god to explain how god could give this CLOWN all this talent, but it's kinda the same vibe! how is it valentino, who is constantly just having a laff and canonically maybe wasn't the biggest gym-goer in the paddock and is just generally seen as, y'know, a bit of a dandy, this foppish clown who everyone loves and who doesn't have to work hard to be good - how is he the one who is winning so much!! it's miserable and unjust... and I think how you portray this is that you really emphasise the kinda, repetitive nature of the defeat. like, I think you probably want to make this into a non-linear narrative where all this biaggi backstory is communicated somehow but you don't just start it when he was born or whatever - you start it in 2001 when they're competing for a title and already hate each other. and then you heavy on the time loop vibes. the whole cinematic language and all that other shit should emphasise how all these weekends are structured in exactly the same way and if you're losing to this one guy, all these different weekends can start feeling the same. it bleeds into each other, it feels inescapable, you're trapped in this narrative you can't change... worst of all, you even return to the same places again and again - like play with that! biaggi keeps coming back to where they had the fist fight, to where valentino first insulted him all those years back. you play up the disorientation and the misery of it all, plus biaggi canonically gives us all this kinda messy freudian shit to play with like how he was dating 'valentina' and his relationship with her was falling apart because of how miserable valentino was making him. it's all there!!

ANYWAYS the way you conclude this story is!! welkom 2004!! so again we can artistic license this a little bit and, uh, ignore sete (though I do also think it's fun if you lean into biaggi being displaced as a rival and staring at them being friendly and happy with each other from the outside) - but the key bit is that valentino is finally making the big error. biaggi wasn't winning titles on a yamaha, since he left yamaha has gotten worse, now valentino is making this big mistake out of his own hubris. language of cinema that shit and make everything brighter and more hopeful.... the time loop is finally over, biaggi has escaped, this year will be different!!!! everyone in his circle agrees, valentino is fucked. step off the plane at welkom (pre season testing didn't happen in this universe) and it's literal dawn of a new day... staring out at the sun and finally, biaggi can move on, can live a new and different life. anyway. obviously we all know what's coming next - you have this big dramatic climactic race where biaggi throws himself at valentino again and again and again and he comes so close to winning it... but he doesn't. and you have valentino living his best life, being delighted, but the film is focusing on how like,,, we're bleaching the joy back out of biaggi's life, how actually he's returning to what he already knew. and it ends on the podium, with the camera focusing on biaggi on that fucking second step or zooming in or whatever (idk how cinema works) and it just finishes on this shot of biaggi dead-eyed in a bleak world, trapped again for eternity aka until the end of the 2005 season. done!! I'm not sure this is quite what valentino had in mind, but. well. that's how I'd do it

this is from the pushkin play from 1832 not the 1984 film but like. low key pushkin already kinda nailed the essence of sports rivalries in the 1830s and we just have to acknowledge that sometimes

right. so the casey rivalry is where I'm going to go completely off the wall. skip this bit to get to the slightly saner stuff. this is also one I fully admit to sometimes playing around with in my mind anyway, but. uh. I'm gonna be taking this one in just. well. places. I do have a vision here but I also don't quite know how to explain it in a way that doesn't make me sound like I've lost my mind, but well if you're still reading this then that's on you. so lemme get this out of the way: the classic sports biopic formula would work well with casey. if I had to point to a single rider I would sports biopic-ify, it's casey. so you have all this kinda,, obvious adversity that's easy to get across, and it's a narrative you can follow chronologically without too much trouble. you've got all the childhood stuff, the australian racing club not letting him join them, the move to britain, the rising through the ranks, it's also this very biopic-friendly 'nobody ever believed in him apart from like three people' stuff. and the premier class is also narratively satisfying, from the rocky rookie season to the kinda shock success to then all the lows of 2008 and 2009 and the physical ailments and the anxiety and then the switch to honda and the title and then him deciding to retire... that's all good stuff! you can absolutely biopic-ify it! gun to my head and sure, I can walk you through exactly what bits of his life I'd focus on and put in what order and so on, and I think ultimately you could make a very good sports biopic from that

[some mild gore to follow in this next section]

but also. thing is. that's fine. it's just not where I want to go here, because again I feel like at that point you can also pick up his autobiography and just read it - because what you're basically doing here is just filming that. and I get how this stuff works, you're bringing the story to a wider audience, you can show stuff in a different way in that medium etc etc, and that's all great but also I don't care about bringing stuff to a wider audience. I care about doing fun stuff in my brain. so what I'd actually do here is just, basically, go in the exact opposite direction and ditch all the realism. genuinely, ditch the live action stuff, we're going animated - what I'm interested in here is stuff where we need to be able to fully suspend our disbelief and lean into some surreal shit. I'm not going to bury the lede here: my idea is that you take that thing where casey said he hated how ducati was ruining the bike by letting valentino's yellow encroach on it and, basically,, just go all in on that bit. like come on, that is so singularly visually evocative, it truly captures a lot of what's going on thematically in that rivalry. (see also x and x for the most relevant casey posts.) casey sees valentino as the malevolent force, this infection! he associates him strongly with a specific colour, one that can be sickly or unnatural or just... evil. malignant, malicious, malevolent, all the m words. to casey, valentino is a personification of everything that is wrong with the sport. valentino is literally the walking manifestation for so many of his issues, from the dangerous riding to the lack of respect to the lying to the cult of personality to the obsession with image and the media to the backroom games to the politics to the injustice of how different riders are treated differently, like!! he's literally all of that! this is a topic for another post, but this plays out in a lot of kinda, weird and funky ways where it's a two way street and sometimes when casey talks about motogp you go 'actually I think that's just valentino?' (btw he also does this about 'europe' right I don't think those are europeans you hate casey that's literally just valentino) and sometimes when he talks about valentino it's kinda? this feels like it's about a little more than the bloke himself? and basically, right, I think you need to take this to its natural conclusion where casey used to admire him and look up to him and want to emulate him on track and then gets disillusioned when valentino's worshippers turn against casey and casey is the one to bring valentino down to earth and... listen, I think you need to play around with valentino being a literal god. and I think you need to have casey stab him to cover up the yellow on the ducati with blood

okay. look. the idea here, right, is that we're basically making the subtext text, and just digging into that process of 'bringing valentino back to earth', of taking on a god and having the audacity to succeed, and also treating valentino as this sort of. infection in his own mind. the bike is literally being infected!! casey may have left the ducati but he STILL has some fidelity and love for this project, those were his people he worked with, and now valentino is coming in and just twisting everything around himself!! but also I think how this functions is that, okay, so you have all this normal stuff that's the actual 'plot' in the 'real world', but the ISSUE with the real world is that there's a lot of stuff that just. isn't possible there. like the thing casey wants in that rivalry but is never going to have is... a captive audience. a big problem casey has in that rivalry is that he doesn't get the chance to actually say a lot of stuff to valentino. he starts using the media more and more and plays the game on valentino's level, but there's still this disconnect where mr straight talking is the valentino rival who valentino never really blanks or freezes out like... there's a disconnect! there's valentino the person, who casey never quite figures out how to just straight up hate, and then there's valentino the character, the racer, the rider, the god who casey DESPISES. but when they're doing small talk at pressers and podiums, casey doesn't get to talk to that version of valentino! he just talks to valentino the person, who obviously isn't literally a different person but is also not going to explain to casey where he's coming from, is he, and also isn't someone who casey can explain to where HE is coming from. and that gulf... it does bother casey. I don't think he can quite verbalise why either, but there's just... this creeping tension. I think it'd be easier for casey if valentino really were more of a caricature, just kinda a dick in all walks of life. and there's just these canonical hints of that... the way casey talks about how he's sure valentino as a guy is fine, but he never knew valentino like that, the whole 'I'd like to go with valentino for dinner to tell him where I was coming from in that rivalry' thing, like!! it's there

so basically EYE think what you should be doing is using the wonders of storytelling to actually. embrace that element. and just leave realism behind now and again. valentino is a god, he is literally worshipped, he's part of this pantheon that casey is trekking to reach. casey is brave enough to take him on in combat, he is the first one who is truly able to draw blood. he sees how valentino isn't just a god of joy or battles or speed or the SUN or any of that other stuff - he's a disease, an illness, a god who is also a false prophet... the worship never quite goes away, because who ever truly gets rid of their valentino rossi complex, but casey eventually is given the chance to face a chained valentino and kinda,,, ritualistically publicly humiliate him using the ducati as both this sick thing that has to be 'cured' and this symbol of valentino's failure. I'm sorry, visual language goes brr here, like chain him up, do weirdly eroticised torture idc!! (psst psst valentino's fucked up shoulder also extremely goes brr here, casey low key a teensy bit weird about valentino's injuries? his thing after the 2010 leg break where he goes 'why's everyone making such a big deal about this other people break their limbs too' and then after 2011 jerez immediately asking whether valentino's shoulder is okay in just a very obviously passive aggressive way. literally he opens with that, valentino isn't using it as an excuse or anything, for some reason it's already on casey's mind and I would politely contest it was out of genuine concern for valentino's wellbeing!! it's just kinda? I'm so compelled by it? I suppose it is kinda about how valentino's suffering gets taken more seriously than his own? how those absences are received differently by the motogp world? idk I find this fun because casey does know this is one thing valentino can't really be blamed for himself, so it just slips out a bit? but yeah, casey + valentino's injuries, nobody's talking about it but I sure will, let casey get weird and mean and a teensy bit sadistic about valentino's injuries in an artistic manner.) crucially I like animation as a medium here because I think it's easier to lean into surrealism when you don't have to hand hold the audience so much through the suspension of realism, also there's just some imagery you can do in cooler ways through animation where in live action it may just look. weird. (I think you can also do one of those things where you have a live action film with only those specific bits animated but also... why? it just feels like in live action you need more 'justifications' for things, like am I saying casey is having some weird hallucinations and is losing his mind? no I just want to have weird vision sequences ffs.) the colour stuff!! valentino/casey is big on the colour coding as a rivalry, to the extent casey is even, y'know, drawing attention to it in the literal text!! yellow and red are banger colours, valentino is big on imagery himself with all his sun + moon motifs, it's kind of all there to make the easy next step to kinda zany surreal imagery. ritualistic stabbing works better in animation, you can kinda get the blood to like. drip down and overwhelm the yellow illness that's slithered out across the bike

and. AND of course what this entire set up allows you to do is.... give them an opportunity to talk. they can't talk in real life! casey CAN'T give him his real thoughts on anything, and fundamentally valentino can't either. they're opponents. they're strangers who chat sometimes. it's not just that they aren't friends, it's that fundamentally they cannot be friends - because their ability to do their actual jobs depends on a certain level of professional distance. valentino of course does have a decent read on casey, and vice versa, because when you're figuring out how to defeat someone then (if you're valentino) you're looking to play the rider too. valentino's entire approach depends on focusing in on his rivals and attempting to throw them off, to make them unravel. he's watching casey closely!! the entire journey of casey's first three seasons in the premier class essentially becomes like, this god of their world focusing in on him. figuring him out. trying to gnaw away at him. obviously, animation also allows you to go big on the panopticon-y imagery which is kinda fundamental to their rivalry, because of their fundamentally oppositional stances to 'performing' for the ever present cameras where there IS a little bit of common ground in they have both struggled with it. but valentino isn't going to ever say that to casey! casey isn't going to open up to valentino! so if you give them,, you know, a different arena to express themselves, where casey actually has this external figure to talk to (as he's like, cutting him open I guess) whereas valentino actually is put in a position where he's allowed to respond, where he can taunt casey a little bit, where he can interrogate casey's approach and also the similarities between the two of them and how casey has been forced to become a little more like valentino to challenge him... because the thing is, right, valentino is so big on message discipline with his rivals and has completely stopped talking about that rivalry post mid 2013 that, first of all, you have this complete imbalance in who's been telling this story for the past decade, but second of all you kinda don't have a sense of what valentino would respond? idk!! I think this is mainly fun as a thought exercise for me specifically but also I do think it's kinda, digging into some of the bits that make this narratively work as a rivalry, how valentino in this rivalry is actually just kinda... removed. like he's not really emotional about it!! at most he's a bit bitchy, but even that just feels about The Game. it's the most extreme in this regard followed by jorge - but with valentino's other feuds you kinda... see a bit more an unguarded moment, see something a little more real there. the casey rivalry feels so uncomfortable precisely because valentino is a little... inhuman in this one. I mean, if you want to have valentino as some kind of cross between a deity and a monster in any of his feuds, this is the one. casey's just an obstacle to him. idk don't you think casey kinda wants to chain valentino down and stab him and make him see casey a little more... well, I think he should want it and I think it'd be fun to see and get them to talk to each other. ugh and also all the implications of making the faith vs non-believer elements more literal... casey the heretic!!!

there's some obvious stuff here you'd have to figure out, like 'how do you make this work as a narrative even to people who aren't familiar with casey stoner at all' and 'who the fuck do you think the target audience is here' and 'you do know this is not the kind of thing that would ever be made, right, go back to the casey stoner sports biopic like a sane person' but!! I do think it's material you can make work if you're just,,, efficient and smart in how you're actually telling the 'real life' version of the rivalry. also in my head this is. idk. an animated limited series not a film, which then brings in other stuff like 'episodic structure' because I'm fundamentally opposed to tv shows that think they're films. and look, I'm not going to write an entire film script treatment here, I just think a good writer can figure this stuff out. blood on the ducati is the framing device for everything else, simple. lots of animated floating eyes I reckon, first casey is watching valentino and then valentino is watching casey and the whole world is watching them... and it does bleed into real life just a little, where you're wondering whether casey is actually imagining/dreaming this stuff or valentino is or if they both know it somehow... you can get away with more ambiguity in animation. anyway, if you do want more thoughts on this one specifically for whatever reason, let me know because this one I do actually have more on

also laguna 2008 is a bit tortoise and the hare coded if you really think about it

[end of gore]

so. on to jorge. hm. the thing about jorge is that he was kinda writing a coming of age film in his own head, so like - yes, that's what you do go for? you can play it straight and follow how jorge has cast his rivals, or you can pin the whole narrative on the fact that jorge has cast them - the kinda artificiality of the narrative, the way jorge is this storyteller who isn't being recognised as much as he thinks he should be, isnt adequately appreciated. the way there's this three way discourse between what jorge thinks the story is and what the public thinks the story is and actual. you know. reality. I think this is a bit more light-hearted, like you know how the best stories about teenagers take their emotions seriously but also let them be kinda silly? because young people are silly! jorge was silly! he's got a lot of CHARM because he's so cocky and naive and full on and intense and awkward and kinda off-putting and tactless and a bit all over the place and so painfully, painfully young, like he's a good protagonist because that's a KID. but also, obviously there's also a lot of extremely not light-hearted bits of his story - everything about his father, his manager... idk this one's another one where, I don't just want to make it a generic sports biopic, and I'm trying to figure out the clear narrative arc here? I mean, you can point to the end of 2010 and really lean into him choosing victory on-track over popularity off it. the problem with 2010 is that it does not work as a dramatic season, yeah sure with the magic of biopics you can hack at it to shit but also. idk. what are we getting out of it. I think for narrative purposes you want to maybe narrow in, and end it at the end of 2008, with the switching of the numbers this kind of moment of emancipation? but also! this feels like we're straying a bit too far away from the fun sports elements and I don't want to REALLY suggest all the ways in which you could mine jorge's personal trauma in a jokey tumblr post, so I'm gonna move on from this one

the problem is 2015 just straight up doesn't work as a jorge-centric narrative, except in a very kinda comic way that leans into how absurd his role in that season was. 2012 as a season is a bit... y'know, it's fine. okay it's mostly terrible, but that's fine too. but it doesn't have a great narrative hook. which kinda leads you to the problem that I do think the valentino rivalry is more... juicy from jorge's pov, because for valentino, jorge is just kinda? an obstacle? idk he's more normal about it, it's just his job to destroy the guy, you know how it is. but also 2009 does work better narratively from valentino's pov, like it's the build up to catalunya specifically you can dramaticise... idk though, I do love catalunya but my heart isn't really in this exercise because I think valentino isn't really being... challenged here? it's a title fight where he's fundamentally using a set of tools he's already perfected, to beat a guy he doesn't really give a shit about. when the italian press is down on him pre catalunya, it doesn't spark any genuine self-doubt - it's just a handy source of extra motivation. there's no epic highs or lows that season, not real ones. and yes I know I was talking about making valentino who gets stabbed repeatedly to cover up an infection a moment ago, but that reflected real EMOTIONAL truths!! I'm committed to thematic fidelity more than I am to literal fidelity

genuinely I think the best way to tackle jorge is with the jorge/dani parallel journeys... what, film? tv show? maybe show actually - you don't have one coherent narrative Statement per se but you're constantly charting those journeys in reference to each other, really rooting it in their respective points of views, no neutral detached cinematic language like I want everything to be very much written to be from their eyes!! going from one to the other and back again. and you're charting these different journeys, right, and how they both captured different flavours of like... emotional successes and failures. I think it's actually about failure, yeah, about having to accept there's something you can't have and might never be able to get - whether that's universal love or a premier class title or whatever - but Actually, that might not be the end of the world. and during this process, they go from being enemies to tentative friends!! guys who realise they can maybe actually understand each other better than they thought!! this real moment of interpersonal connection. you have all these media narratives and the managers and so on and the fact they're competitors as these built in reasons why they've just been pitted against each other from the start... but y'know, again, it is also just a bit about maturing, about being able to set that aside, about making your peace with defeat and failure as an element of growing up. you can't win everything, maybe there's something you really really really want and you're just not going to get it, but at the end of the day it's kinda... yeah. self-acceptance. idk this is the nice one

so with marc you can go several different ways here I guess, and again he's also perfectly decent sports biopic material, probably second to casey in that category like yeah sure do the comeback story. but also, we do already have a very good self-produced documentary about what he thinks the narratives of his career are? idk this is also just a personal taste thing, I'll leave him to doing all the injury stuff himself, I don't have much to add there. we'll get to the obvious one in a second, but I was trying to figure out if there were other places I massively felt like you need the cinematic touch. and, again, the 2013 season is obviously very exciting!! but also, you have it covered in.,,,, multiple documentaries, I don't feel I have a take their either? his rivalries with dani and jorge aren't really substantive enough to sustain a bit of cinema. dovi... I mean, what are you saying there? what's the arc? I feel like if I tackled dovi, I'd go somewhere else and really go all in with the ducati stuff, and make it a bit more... you know, stark, stripped back, basically just the emotional component of how much he gave to that project and how he managed to beat away one rival after the next and how it all ended up falling apart in a kind of anti-climactic way? he's also good sports biopic material, but in a way I think the marc rivalry is the bit of his story I have the least to say on. so eg, 2017 is a dramatic season, but he's also kinda fine after it? he always knew it was a long shot, he tried his best and he got really close and then he lost. you can't amadeus it because dovi isn't (fictional) salieri. basically, I think what I'm saying here is that dovi is too well-adjusted to feature in this post. though I'd totally watch a film about his 250cc seasons, like it's a bit annoying because HE is the underdog who loses both title fights to jorge, but it'd still be kinda fun idk. I wouldn't really know what to do with the material but if someone made the film I'd absolutely watch it

right then. the thing about sepang 2015 is... yeah, sure, of course you can do it, it already exists as a narrative but... yeah, what are you adding!! idk I always think when you're adapting something, you kinda need to have a reason for it? I mean, what are you doing that's not already there in the footage? idk maybe this is just a sign of having been a fan of this sport for one too many years but to me the idea of sepang 2015 can get a bit boring (or maybe just repetitive) where I need a new TAKE on it to really get into the idea of fictionalising it. like where's the auteur's touch y'know, what can I still add to this!! but it also needs to WORK for someone who is new to the story, which kinda just makes you want to tell the story straight.... y'know the story is strong enough and COMPLICATED enough to stand on its own and it IS good but I don't really have anything interesting to say beyond 'yeah sure that'e be neat'. I can't tell you why, but I also don't think the casey approach quite works here? the idea of providing a framing device with which valentino and marc can actually talk to each other... eh. don't like that. hm. okay wait actually I just turned it around in my head for... a while and I think I've got an idea to make the worst motorcycle racing film of all time. so, my central stupid film-making gimmick here is just. centring the fact we're completely reliant on a few guys and what they're telling us in making up our minds, and our removal from that story and the imperfection of their perceptions and so on. so I think you kinda make a point of... not actually showing the motorcycle racing? like, you always show it by showing other people watching it, you're showing the tv screen rather than the actual racing. even in the cinematic medium, you're centring the theatrical aspects, where you drill it down to just a few characters. valentino. marc. uccio. marc's fuck ass manager. maybe a crew chief or two. keep it limited though, all the others are kept at a distance - you're constantly focusing in on the same few characters. and very early on you basically just like... get them to fourth wall break by telling you, the viewer, with their actual words how racing works for them, what meaning they take out of it - and again it's this remove because we're never allowed to actually feel the racing for ourselves (no helmet cams), and it sets up that as the tragedy unfolds, again and again we're just hearing from them what happened. it's all zoomed in on how claustrophobic the entire situation is, like doing the race direction room after the sepang 2015 is perfect for that kind of thing, and crucially they're only ever addressing the audience because they can't address each other. but fourth wall breaks also obviously draw attention to artificiality! I realise they are very much like, lame gimmick central, but also are these men not inherently about lame gimmicks... idk it's basically the same story but at least it feels like a kinda interesting way of telling it. kinda trite, but cinema allows you to get to the point and let valentino actually play with the camera... so literally take it into his own hands and lead it around and tell the story from his point of view. and you can play with how they do both change in what stories they think they're telling, how they're constantly revising their own stories, how their stories completely clash with each other... like. make them literal narrators. that's my pitch

so. one interesting pattern that has come up with my approaches to these rivalries is that with the exception maybe of the 2015 stuff, I feel like I'm more naturally inclined to treat valentino as a narrative device and centre his rivals. a big part of this is that valentino is a fantastic narrative device. he's kinda. this looming presence in every narrative in this sport where you can just sort of use him as a sort of way to poke away at all these other riders. the monster everyone loves who you are trapped with. BOO!! he's gonna eat you! which is fun! but ALSO, crucially, several of these rivalries aren't that emotionally challenging for him!! again, with casey right, he wants to beat him, but he's not having a crisis of faith over losing to casey. he thinks casey is annoying, he wants to beat him because he wants to win. valentino is casey's foil, but casey is not valentino's. valentino makes for an excellent personal antagonist to casey, but the reverse just isn't true. casey isn't forcing valentino to reexamine his approach except 'ramping up the levels of being a dick on-track' - like, yes, that's a serious competitive challenge, but also valentino is very comfortable in his own skin in that rivalry. sure, you could have valentino have some kind of massive revelation about the casey rivalry, but like. he doesn't in canon. he changes his behaviour towards casey in pretty predictable ways depending on what the relationship demands from his perspective at any given time. there's nothing more there

now, obviously you know where I'm going here. there IS a rivalry where you can make the argument he changes as a result of it, there IS a rivalry that tips him over the line and makes him to do stuff he hadn't done before that, there IS a rivalry that happens to coincide with a period of his competitive life that challenges him both personally and professionally. now, look, I have already talked about the sete rivalry. you know what I think about this rivalry - and if you don't, I really already have told the story here and here and here and here and also here. I think this works perfectly well as a narrative in its own right, and it's one you can tell from either perspective... but you kinda need both. I think again you probably naturally lean towards starting it from sete's perspective and that first proper meeting (I mean, idk if it is their first actual meeting, but it's the logical obvious place you start this story) with sete giving valentino advice during his first 500cc test and valentino just, y'know, ignoring him and being a cocky shit and then crashing. so you get to see sete being kinda exasperated by the whole thing. also, obviously ibiza is like, a key framing device here, like it's the most obvious in-your-face way of tracking their relationship with each other. I don't actually know how often they partied there together, but it must have been at least twice and if the commentators are to be believed it must have included 2003. artistic license and you can add one or two more times, but mainly you want to focus in on 2003 onwards right. so you've got this 2002 one where it's, y'know, high point of their friendship and in the name of narrative efficiency, you establish here that sete is looking to make the honda switch. the emphasis is on how valentino has been winning everything but on the flip side you're getting the first insight into his discontent. and there's a bit of a vibe of, what could you possibly have to complain about? like you are winning so much? so it's late one night where they've had this slightly unguarded alcohol-fuelled moment of genuine vulnerability but in the end it's actually characterised by how... unsubstantial the link between them is, because they wouldn't talk about this kind of thing with each other and they might both be similar in some ways but also don't gettttttt each other. it means you can return there as a location in 2003, where you've just had sachsenring and valentino's dramatic loss but they're still partying together and it's like. obviously In The Air that not everything is quite right... their relationship is already gradually altered and twisted because you're introducing this element of actual stakes and competition (obviously in 2004 they do NOT spend that time together, as far as we know anyway, and you can show them being very much not together at ibiza as a very obvious Oooh Things Will Fall Apart and maybe already haveeee)

and I do think basically I've already said what I think the themes here are,,,, several times by this point, so I'm not going to belabour the point. I think all of this fundamentally works as a narrative with like, minimal massaging and rearranging of the elements for dramatic effect. it's all there already, everything from sete's arc with the [insert non-tasteless way of covering a real life tragedy that fundamentally alters the course of sete's career] and how that leads to sete becoming the challenger and how he does want to win and his eventual downfall. with valentino, you have the element of liberation and self-discovery and... well, growing into your own but also kinda having the narrative drawing attention to how 'growing into your own' can involve becoming a fully realised character who is essentially quite cruel? you have this kind of... build up, right, towards this moment of revelation, where you lay bare who these two people actually ARE at sepang 2004, and then again at jerez 2005. valentino has gone his own way, he has freed himself from the chains of honda, he has embraced individualism and the chance to define himself and his own legacy and stand on his own two feet and not rely on the strongest bike or all this stuff within honda where they chose him as their flag bearer, for better or for worse... like he comes to his own here! he takes the step from 'great rider' to 'legend' because he gets to this dramatic moment of stepping into the unknown, he takes this massive risk that could have cost him so much, and it ends up elevating him. but it also puts him under duress, and in that moment he reveals himself - whatever sete did or did not do at qatar 2004, EVEN IF sete did all that shit, what you are left with is valentino vowing to ruin this man. valentino uses sete to make himself 'better', to fuel himself as a competitor. valentino turns sete into a tool in his own story. and again, thematically you've got all this stuff about how sete was managing the image of the rivalry and how valentino took advantage of that - how sete needed it to remain respectful and valentino was completely willing to abandon that. like, you have two protagonists who really are similar in quite a few ways, who think they have this shared understanding with each other, but when it comes down to it? they end up being super painfully different

now I can go on about this and how to play it straight, basically, you can just do that rivalry and I think it'd be cool and fun and very easy to arrange in a good narrative way. BUT I've kind of already. done that. like I don't want to suggest a film that is basically a nicer version of my tumblr posts. so I want to take this in a slightly different direction, and I think what we need to consider with this rivalry is this: what if you made the curse literal? basically, what's always kinda charmed me about this rivalry is that the curse should not work and all the misfortune that befalls sete after that is so comical that it's kinda... what do you do with that? and the answer is you just lean all the way in. my pitch is this: what if valentino sells his soul to the devil?

so, you know faust, right, and you know the bit at the start of goethe's faust where god and mephistopheles are basically making a wager over how corruptible this one human is. and faust is like... he's kinda disillusioned, he feels that everything he's dedicated his life to in academia is fundamentally hollow, gets very close to committing suicide. and faust has gone a bit new age-y, gotten into all this mystical shit and he's got this pentagram that ends up preventing mephistopheles from leaving his presence in their first meeting... and basically what the devil can give him is like, the chance to attain some true pleasure, and for that faust is willing to bet everything - so if faust can just have that, then maybe eternal damnation is worth it. and look, I'm not going to summarise the entire plot of faust here and it does go off the wall a bit with all the gretchen stuff, but the point is you have this version of the devil who is fundamentally a cynic and is attempting to win an argument with god by making this human succumb to his own nihilism. and what faust basically does is like, abandon his normal life where he's trying to live by normal virtues and goes off on this journey with the devil. and there's this little moment where mephistopheles,,, pretends to be faust and takes on the role of an academic adviser (you know how it is) and seduces this random student away from the word of god and sends him down a wretched path, which ends with this bit:

like, a big part of faust's tragedy is supposed to be about... well, hubris, of the relationship of god to man, of no longer being afraid of the devil... and obviously, this is all framed very much in terms of religion, but at the end of the day it's also about, you know, having purpose - faust is living a life that no longer has any meaning to him, all of his knowledge and studies now no longer fill the void inside himself. his nihilism opens the door for mephistopheles, and is what makes him willing to accept the devil's terms. now, and I am so very sorry to goethe here, I think we have some material we can use here to explore the valentino/sete rivalry. obviously, you can't do a one-to-one, you need to get rid of some of like, the depression and all that - there were times when valentino was feeling 'a bit low' in 2003, but not 'faust thinking everything he'd done in his entire life was pointless' low, yeah? also, unless you want to do a real long view here and even then it can't really be justified, there obviously isn't really a 'tragedy' here from valentino's perspective. like, he wins! this isn't valentino's tragedy, it's sete's! I was being a bit facetious when I said he was 'selling his soul to the devil', and you can kinda parse mephistopheles' motivations in different ways depending on what flavour and what interpretation of him you're dealing with here. you don't 'damn' valentino, you essentially just turn him into a tool of the devil!

so, this is how this works out in my head: the devil works more broadly as the manifestation of competitive impulses, the kind of 'how far would you go to win' question as a bloke who shows up and literally talks to the characters about it (magic of cinema). he's also engaging with valentino feeling like his victories no longer having meaning, with being disconnected from honda and from the entire culture there and just feeling like he's going through the motions. there's this element of like... opening the door to what is essentially a journey of self-actualisation, bringing him closer to being a 'god' but also allowing him to fully come into his own and become himself. to win on his own terms. I reckon ibiza is my preferred narrative device where the devil talks both to sete and valentino there (separately), first literally as a mysterious stranger and then... maybe not? he's talking to them at times of their lives when they're not at ibiza and it's not happening there in the physical world and they both end up kinda having to confront they're dealing with some potentially malevolent supernatural entity. but the important elements of the devil is that a) he's not going to do anything the humans don't actually ask for themselves, and b) everyone knows he's following his own agenda and you should be careful of the requests you make of him. so it's kinda like... essentially, the backdrop of this rivalry unfolding is they're constantly being challenged to decide what lines they're willing to cross. which culminates at qatar... and maybe you do have sete making like. a teensy mistake. a teensy error in judgement, one that is both real and deliberate but he could not have known would get that reaction and instantly regrets. and valentino, who is I think inherently sceptical of the devil coming to offer to help him and maybe does crank out the pentagrams (remember, the whole point of faust is that he was too arrogant to be scared of the devil, or one of the points anyway), in a moment of fury does decide - no, actually. I will take that step. I will curse sete. now the thing is, dramatically this is a teensy bit tricky because when you're talking about being damned by the devil, usually the consequences are a bit more severe than 'not winning a motorcycle race again' (yes, you can get into how sete did also seem genuinely cursed after that, cf his ambulance/bus crash situation, but again we are flirting with being in poor taste in this tumblr post). but the thing is, right, you have to lean into the silliness here! qatar 2004 is inherently silly, a CURSE is inherently silly, like real life is already silly here! you have to engage with the people where they are, and for these athletes all this shit is so heightened that the emotions are full on. like, valentino would've sold that guy to the devil! and to him not winning another race is basically the worst thing that can happen

so, obviously, you get to do the actual curse stuff. curses are inherently campy fun, the devil doing curses is campy fun, getting valentino rossi to crank out the pentagrams is inherently campy fun. you get to play around with this, right, like you know that bit in the brno 2005 race commentary where the commentators are talking about how valentino might as well have a little radio to talk into sete's helmet to remind him of how sete had fucked up at the sachsenring. OBVIOUSLY obviously obviously it is just so... idk scrunchy and fun to have this idea of valentino becoming a malevolent enough force to literally do that.... like damn the commentators did kinda eat with that?? ughhhhhh do you ever think about sete leading the qatar 2005 race for most of the way???? like that's SO fucked up because you literally have articles from about the race going 'hey maybe sete can break his curse' and then the commentators are talking about curses having one year expiration dates but obviously they!! do not!!!!! there's one race where sete goes off track and the commentators are talking about how valentino will surely have smiled into his helmet like that's so fucked!! it's so fucked!! but idk I think basically you have all this creeping curse-y stuff and devil stuff and then you get this twist and then it just becomes misery zone for sete until you sort of. compress the timeline and have him retire without getting into what happened at the end of 2006. and valentino just relishing in all his very worst emotions. and you've got sete who was the better man after jerez 2005, who took the high ground again and again and again and it did NOTHING for him.... and then he's cursed and his career is finished and the devil has had his fun getting mixed in with mid noughties motogp. and now obviously this is inherently kinda dumb and corny and silly but it's the devil!! mephistopheles to me is allowed to get up to dumb shit sometimes, let him have some fun!! idk I like curses being literal idc

I think the obvious critique here is 'this doesn't really feel like it gets the message of faust'. which, yes, is true - and obviously the way narratives are structured, a satisfying resolution isn't 'well selling your soul kinda slaps, actually'. and my statement to respond to this argument is as follows:

this is essentially canonically what happened. valentino DID do something kinda evil and it DID work out 100% for him and it DID kinda slap. at least when you add in the devil, you're making explicit the bit where it is a little bit bad. also, is sports not inherently about selling your soul for success... the story of valentino and sete is essentially about how we are twisted by competition, how pretending that we don't wish ill to our opponents is inherently dishonest. it is about lifting a facade for something that is already inherently there in the souls of men. this is obviously inherently a deeply cynical stance, but this is also a deeply cynical story beyond all the fun battles and camp dramatics. the devil is a cynic and he is basically the point of view character of goethe's faust - he's the one who is positioned closest to the audience. sports is all about living out some of humanity's worst instincts in a relatively low stakes setting, which means we get a free pass to have fun with a deeply cynical story that goes 'maybe selling your soul to the devil is fine, actually'

do I stand by this stance? not really, but the whole fun of storytelling is that sometimes you can just be kinda mean. I think goethe would get it... you can tell which character he enjoyed writing the most

the OTHER way you can do this is centre everything around qatar 2004 as like,,, the mystery box element...... okay look I have now made two posts that go WAY too deep on the 'what really happened' element but I do loveeeeee the whole thing like I would just make a film about that very end of the season and we show it from all these different angles as different characters narrate what happened... like fuck all the riders I want to hear from whichever mechanic used the scooter... the gresini mechanic who gave evidence to race direction.... various honda higher ups the crew chiefs like this is jb vs juan martinez it's war!!! obviously you still have the same emotional/thematic hooks as the general rivalry does but idk I would have a LOT of fun figuring out how to structure that, I loveeee mysteries... maybe I'd write it as a mockumentary yeah..... this one's just fun

anyway. a lot of stuff going on in this post, huh! you can probably tell I didn't edit this much. my classic tell when I edit my tumblr posts is I remember how 'paragraphs' work. unfortunately all I have energy for are like. a bunch of rants about things in my brain. I think when tumblr tells you that you've reached the maximum number of characters per paragraph and you need to figure out where to put a break, it's probably a bad thing? on the whole, my stance is I don't have anything AGAINST mildly fictionalised versions, but for me I'm always more of a.... well I want to take advantage of the full specificity of the events as they happened or just come up with a completely original story. kind of person. I know this ask probably wasn't looking for my 'what if you bled out valentino as he's strung up above a red motorcycle' vision but yeah. with a lot of biopics I'm always a bit 'well you could just read about this couldn't you' like I need stuff to take some kind of a stance on the material it's using... all my stuff takes a stance. that's all I've got. obviously all these stances mean that basically none of these things could ever be made. and I know what I said above but if they called me up to write the casey stoner biopic script treatment, I would also do that. if you've actually read to this point, give me a shout - you're a real one and I love you

#would an insane person write this #//#brr brr #batsplat responds #//st #//curst #//ht #//mt

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aspiringtrashpanda · 1 year ago

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✨Fic Rec✨ - Divergent Fist 🍙💍

Buckle up, Inuokko enjoyers! It's time to check out Divergent Fist! If this story doesn't already have you in a chokehold, constantly on the edge of your seat, then it's time to dedicate a whole afternoon getting caught up. Make a tea, grab your weighted blanket, and read the 12 current chapters of this incredible doujinshi.

RATED M. Content Warnings - Canon-typical violence and gore, post-Shibuya incident, sexual content, lots of angst, trauma and related physical and emotional reactions (AKA Toge has no food left in his stomach).

Divergent Fist follows the stories of Toge Inumaki and Yuuta Okkotsu, navigating the world of jujutsu sorcerers, trauma and healing, and budding romance in the aftermath of the Shibuya incident. Expertly balancing the soft moments with the devastating, ArtMop (she/her) is in the midst of crafting a doujin that is sure to stand the test of time and become a classic for any fans of BL in the Jujutsu Kaisen fandom.

To start off, I'd like to be transparent that yes, I do edit ArtMop's chapters and help with the general planning of the series. I have a clear bias. That being said, I genuinely believe that this doujin is not getting the attention it deserves, and I just want to shout my love for it from the top of a mountain. Let me give a hardworking creator some love, okay?

First off, let's talk about the #1 selling point of DF - it is an illustrated fanfic that updates regularly and is accessible entirely for free. What more could you possibly ask for? You wanted more Toge content? More Yuuta content? Well, here you go!

It is worth noting that the art itself, despite being above average to begin with, improves drastically throughout the story. The anatomy, expressions, and details in the last few chapters are breathtaking. With each installment in the DF series, ArtMop improves and improves and improves. I, personally, wait with bated breath for the drop of the next color cover, the next insert art. There doesn't seem to be a ceiling in sight when it comes to ArtMop's swiftly growing skill, and I cannot wait to see what the future has in store for her. If she applies a fraction of the same dedication to honing her craft to anything else in her life, she may become the next president... or something far cooler.

Stunning visuals aside, the story itself is magnificent. It integrates canon world building, mixed with original cursed techiques and characters, so seamlessly that it feels as though this is an actual spin-off of Jujutsu Kaisen. Perhaps an alternate universe where underutilized characters are given a bit more depth (shots fired 👈😎👈)?

The character arcs have been set in motion! We have Toge refusing to acknowledge his trauma. We have Yuuta's sexual awakening. We have a deeper look into Maki's friendship with Toge, and a delightful duo of new first years. And best of all? We have a villain with an interesting motive. It's clear that ArtMop has so much planned, more than we can possibly imagine! We are already starting to see how relationships are developing, how each character manages the aftermath of certain choices differently, and the story is only going to build from here.

Chapter 12 has just been posted on Tapas and Tumblr, and if you're craving even more Divergent Fist content, there are even a couple behind the scenes moments found on Archive of Our Own. Listen, as someone who knows the trajectory of the story, please check out this amazing series. You may be chewing your nails (like Toge) waiting for the next chapter, but I promise you that being along for the ride is part of the journey, and it will all be worth it in the end.

Okay, ramble over! Thank you for listening! Here, have a cute trio pic from the cover of Chapter 8:

Huge thank you to @artmopworks for this incredible work, and for letting me scream about her doujin. 💕

#inuokko #ottoge #inumaki toge #yuuta okkotsu #toge x yuuta #doujinshi #jujutsu kaisen fanfic #jujutsu kaisen fanart #artmopworks #seriously this is so good #please check it out #editor privileges so i know what happens next #and trust me you want to be along for the ride

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sanguinarysanguinity · 20 days ago

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OH may I ask for your director's commentary on your The Hornblowers' To Command series?? I am so infatuated with it <3

Thank you for the ask! I'm so pleased you like the series. Buckle up, this is gonna run long.

Under the readmore for length and discussions of sexual dynamics:

The Hornblowers' to Command (its official title, I also refer to it as the Any Service 'verse) started with the question "Is there anything that Bush wouldn't do for Hornblower?" a question that I've been poking at for ages. One day while I was pondering that, an anon ask came across @hornblowershitposts, positing that Hornblower might crave being on the receiving end of violent sex, and I thought, "Well? Would Bush hit Hornblower, if Hornblower requested him to?"

(Yes. The answer was an emphatic yes. But it would FUCK BUSH UP, aftercare required.)

Of course the tricky part of that scenario was not getting Bush to hit Hornblower, but getting Hornblower to ask for it. (This is the problem I've always had writing for that pair: Hornblower would rather die than admit to wanting something for himself, c.f. my hanahaki story, "A Well-Rooted Briar" -- but we're not talking about that story right now.) Hornblower was never going to ask to be hit, and that's how this became a threesome story: Maria, who we all know is as devoted to Hornblower as Bush is, could ask for what Hornblower couldn't.

Which then begged the question: how did Maria come to know this was what Hornblower craved? Which led to the backstory (not, I think, mentioned explicitly in that first story) that Hornblower can't get it up without violence. Which had led to some very painful questions on their wedding night, Maria eventually worming the whole thing out of him, one painful, reluctant confession at a time.

btw, all this required that Maria be a woman of MUCH higher fortitude than Hornblower credits her in his narration -- but then, Hornblower is an extremely faulty narrator about some topics. I have long chosen to believe that one of those is Maria.

So I wrote my smutty over-the-top oneshot, and that should have been the end of it -- except that I'd casually embedded in this 'verse the premise that Hornblower had never been able to get it up for Maria.

So whose children are those?

But I didn't get to all that right away: first off there was a whumpy little story in which I gave Bush (and then took away from him) an apotropaic nautical tattoo. I set it in the Any Service 'verse mostly because I needed Maria as a catalyst again: someone to explain the tattoo to, and also a mechanism for drawing some feels out of the normally-stoic Bush.

(See, I'd been reading about maritime swearing/cursing -- since I was a small child, I've been frustrated by maritime novels redacting all the cursing while making a BIG TO-DO about how inventive it is! Apparently maligning someone's mother was BIG FIGHTING WORDS in that era. Because, as the text pointed out, all these men had gone to sea as boys, and their last memory of any gentleness or tenderness in their lives was of their mothers, which caused them to build these women up as nearly goddesses in their emotional worlds. And seeing how I'd made Maria the source of Bush's aftercare in the previous story -- he had desperately needed it, and god knows Hornblower isn't in touch with his feelings enough to provide it! -- I thought to myself, I bet that's how Bush sees Maria's aftercare: as this monumental, nearly holy tenderness that he had hardly known in his life since he went to sea. So that's where I rooted the emotional throughline of "Cock on the Right" -- in those moments of Maria's nearly-holy comfort and tenderness toward him.)

All of which set me up nicely for the next story, which was a story I'd been trying to write for years: Hornblower inviting Bush into his and Maria's bed to supply his own deficiencies. I'd had the beginnings of a story like that in draft nearly since I first started writing this fandom, but I'd never been happy with it. Here, I just threw the original attempt out and started fresh, building upon what I already had in this 'verse: Bush's reverential feelings toward Maria and his deep service-submission tendencies. Nominally "Their Shared Will" (I am so proud of that title!) is a vanilla het story, but in actuality it is all about Bush's submission to the Hornblowers, and thus is as kinky as fuck.

By this point, of course, I had built a 'verse in which all the kids are implicitly Bush's. At which point I mostly stopped being interested in smut stories, and instead became interested in the canon timeline. How did they navigate these different ties? How do canon events and emotions change when the kids are Bush's? How do you navigate a relationship when your shame and repression are so pronounced that you can hardly bear to speak of it?

I have been toying with several more story ideas for this 'verse:

One is smut-adjacent, about what happens when the weird consensual non-consent of "Any Service Required" goes wrong -- i.e., when Maria makes a misstep and does something Hornblower doesn't want. I have a draft beginning for it, but I'm leery of finishing and posting it, mostly because I worry about its reception. But fucking up and violating a boundary in an otherwise loving and care-centered relationship is a thing that can happen, and I do think this trio is cruising for it. I also think "and what do we do about it" is a question worth talking about -- and especially worth exploring with these three, two of whom would rather die than talk anything out.

Another story I have the beginning drafted for is the moment of Hornblower's promotion off the Hotspur. Bush assumes that this is the end of his weird little family, and that without Hornblower to mediate Bush's inclusion, he's going to be cut out. He's wrong.

Three other stories that I want to write for this 'verse, but don't have anything drafted yet:

Bush returning to England in the Temeraire, during the winter of 1806-07, to find a black wreath on the Hornblowers' door.

Bush returning after "Cock on the Right", going to Maria to announce the happy news that he and Hornblower aren't dead after all -- and strangers are living in Maria's lodgings.

Caudebec. Although I'm not exactly sure what to do about this one, because the series is firmly Bush-POV up until this point, and… well. Bush won't be around to have a pov, if you know what I mean. But I would very much like to talk about what it means to go on.

Who knows if I'll ever get to writing them; I have the impression that most of my readership wants a happy ending for the family. I've already received pushback from a couple of different readers on these story ideas.

However! I'm pleased to say that @tgarnsl has a draft of a happier ending for them, where Maria doesn't die and the family runs off to live in Italy together. I hope to see more of that someday. (Maybe I should go ahead and write the tragic stories to give her an incentive!)

Again, thank you for the ask, and I hope you found something here you enjoyed!

#the hornblowers' to command #any service required #hotspur husbands #hornblower fic #dvd commentary #my writing

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sirowsky-stories · 1 year ago

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Collision

Description: A bad evening turns into a horrendous night when an accident threatens to rob Pero of the one friend he really has. But not everything is as it seems, and over the course of just one day, his life is turned upside down.

Warnings: Pero Tovar x OFC, no reader insert, Pero's pov, car-crash, hospital scenes, accidental pregnancy, cursing, angst, reference to smut, friends to lovers, hurt/comfort, secret identity, AU fic. Rating: Mature/Explicit 18+ONLY Word Count: 6400 Series Masterlist

Author's Note: I can't leave this man alone. I have no idea what this might turn into, it was just an idea for the Pedrostories 1k Celebration and I ran with it. So let me know if you want to read more about these guys. And thank you to the wonderful people behind @pedrostories ! You do amazing things for this fandom <3

-=¤=-=¤=-=¤=-=¤=-=¤=-=¤=-

He doesn’t hate her. That’s as much as he can be sure of when it starts. She’s interesting, different from most other women he’s met, especially in how she never asks him for anything. She shows up when she needs him physically, just like he does with her, and that’s as far as it goes. And in that sense, she’s perfect. She takes what she needs and allows him to do the same, and it works. They work.

Until the day it all goes to Shitville.

“Please, just listen to me!” she yells, trying to be heard over his endless growling and spitting, but he is as far from a listening mood as he’s ever been.

“Get the fuck out of my house!” he yells back, unable to even be around her in that moment.

He actually tries to walk away from her even though he’s in his own home. But she doesn’t let him, following him through the hall towards his bedroom, where he stops before crossing the threshold, whirling towards her to try and get rid of her.

“I’m not doing this, Niki!”

“No, you already did!” she fires back. “It’s not like I can make a fucking baby on my own!”

“And why should I believe that its mine? Hm?” he challenges, and sees her eyes shift from anger to something colder.

He’s about to cross a line and he knows it. He knows that she doesn’t give herself to anyone else, she’s not trusting enough for that. It had taken two years before she’d even let Tovar anywhere near her body. But he doesn’t want this. Just the thought scares him worse than anything ever has. Badly enough that he can’t even have a conversation about it.

“We’re not together, you could’ve been with a hundred guys for all I know!” he presses, fully aware that he’s way out of line, but too riled up to stop himself.

Niki, meanwhile, is too stunned to speak. She just stands there, staring up at him in disbelief, no doubt trying to understand why he’s being so cruel when this isn’t her fault.

“Get the fuck out,” he repeats, low and menacing, making her shiver and step back.

She’s always known that he has a bad side, she’s seen it more times than most people around him. But she’s never seen it aimed at her before. The one reason why she had eventually decided to trust him with her pleasure, is precisely that he’s always allowed her to see those parts of him. That he’s honest, even about the things he finds ugly in himself. And that’s why she also believes him now.

He can see the moment in which that trust crumbles to pieces. Five years of progress, undone by something that is still, no matter how much he wants to deny it, not her fault. She grants him his wish, and leaves without another word, while tears break the dam of her lower eyelids, spilling down her cheeks in softly sparkling streams. And he wants to wipe them away, to wipe this whole fucking mess away, but he can’t.

-=¤=-

The ringing wakes him in the small hours of the night, tearing him out of a hazy dream filled with strange lights and ominous shadows, no doubt brought on by the bottle of whisky he’d all but gulped down in his efforts to silence the guilt and allow him to rest. It’s an unknown number. He never answers unknown numbers, so he mutes the call and tries to go back to sleep.

But it rings again. And again.

“I’m trying to sleep, stop fucking calling!” he snarls instead of a greeting, when he finally answers to try and shut the caller up so he can get some sleep.

“Sir, I’m calling from the County Hospital, I need to know if I’m speaking with Pero Tovar?” the male voice on the other end replies, and he sobers up slightly.

Why would anyone from a hospital be calling him? The last time he’d gotten hurt had been over a year ago, and there wouldn’t be any follow up to that this long after. Especially not in the middle of the night.

“Yes, this is him,” he says, considerably less confrontational.

“Mr. Tovar, my name is Frank and I’m a registered nurse at the County ER. We have a patient here named Nikita Morse and yours is the only name listed as her emergency contact in the ICE information on her phone,” the man answers, and something cold and terrible shoots through Pero’s blood over the two seconds that it takes for him to absorb what he’s heard.

“Is… Is she-…” he tries, needing to know if she’s alive, but he can’t get the word out. “What happened?” he asks instead.

“A car accident. As I understand it, Ms. Morse wasn’t responsible, but I’m afraid that it was a severe impact, sir,” the nurse explains, and when Pero still doesn’t reply, he continues. “You should know that she’s alive, but her condition is critical. You might wanna get down here, sir.”

“Right…” he answers in a daze, and then hangs up the phone.

He has never once imagined that she might get hurt. It hasn’t crossed his mind, because he’s never thought of her like that. Like someone he should care about in that way or to that extent. He’s never thought that he does. Niki is a friend, sure, but a fuck-friend more than anything else. She isn’t someone that he hangs out with socially in the classic sense.

They don’t have dinners or go to the movies or pubs or anywhere together. They meet up, have sex, and then part ways. Usually without even talking much and never staying the night. It’s simple and that’s why it works. Because there aren’t any feelings involved. Or so he thought.

He sits up on the side of the bed, holding his own head for a minute to try and stop the throbbing in his temples. He doesn’t know if it’s because of the alcohol or the shock, he just knows that it fucking hurts and he wants it to stop. He doesn’t want to care. Caring is so complicated. But she’s hurt, once again to no fault of her own, and he can’t just leave her there alone.

She doesn’t have anyone, and neither does he. She doesn’t know how to trust people, and he doesn’t want to. They’re both each other’s exception. That’s why they work.

He gets dressed and splashes cold water on his face. Not to sober up, the call took care of that, but to make sure that this isn’t a dream. He wishes that it was, so he’s disappointed when the water doesn’t jolt him awake. Even with the keys rattling in his hand, he almost forgets to lock the door. The drive passes in a blur while his thoughts erratically jump between memories and imagined scenarios, his fears creating haunting images before his eyes.

Parking is free outside the emergency room, but he wouldn’t have remembered to feed a meter regardless. He gives his name at the front desk and is shown to a smaller waiting room further into the building, reserved for friends and family of patients in intensive care. It’s empty when he walks in. No other patients are as bad as Niki tonight.

It takes thirty minutes before the door opens and a woman enters, closing it behind her.

“Mr. Tovar?” she asks, and he nods, feeling his throat go dry at the blank expression on her face. “My name is Penelope Jackson and I’m one of the doctors who worked on Ms. Morse when she was first brought in.”

The room is small enough that it only fits eight chairs. Three along the far wall, two on each side and one beside the door. He’s sitting on the first seat along the left-hand side wall, and she takes a seat in the single chair by the door, putting her at a ninety-degree angle to him.

“I’m gonna be frank with you, sir. The accident was bad, and her injuries are severe. She’s already been in surgery for three hours,” she begins, and he feels himself restlessly looking for something to busy his hands with. “But she’s fighting. The surgeon who’s working on her right now says that she’s remarkably stabile, considering her injuries, so she clearly wants to live, and that’s half the battle.”

He doesn’t say anything. He doesn’t even know what he’s feeling or thinking, let alone how to express any of it.

“I’m sorry that it took us so long to call you. She had no ID on her when she arrived, and it took the police a while to find her purse and phone. They got thrown out of the car by the force of the impact.”

An image of contorted metal and a broken body in a driver’s seat unbiddenly flashes before his eyes, and he closes them against the disturbing picture.

“May I ask how you know her, Mr. Tovar?” Penelope inquires softly, but he doesn’t know how to respond.

The memories of how they met replace the disturbing image in his mind. The in-house mechanic who had come to fix his forklift when it had broken down in the middle of his shift at the warehouse. The way their short conversation hadn’t felt uncomfortable even once. The rare smile that her careful attempt at a joke had put on his lips. She’d told him later that she’d never felt so instantly secure around another person before that day.

“We work together,” he finally says, rubbing his face against his palms to try and scrub the mental pictures from his view.

Happy memories don’t seem to fit into this scenario. Doctor Jackson doesn’t look surprised to hear that his relationship with her patient isn’t closer than that. Obviously, it is, but he can’t find the words to talk about that with a stranger. However tolerant she might be, he doesn’t want this woman to judge them, and anyway, their relationship, however unusual or strange, is their own business.

“Do you know if she has any allergies or pre-existing medical conditions?” the doctor asks then, and he answers without looking up at her.

“Isn’t that in her records?”

“She doesn’t have any,” Penelope replies, and he snaps his head up to meet her eyes.

“What are you talking about? She broke her collarbone eight years ago. She fell off a horse and broke her left arm and four ribs down her left side a year after that. Of course, she has records, those things didn’t heal of their own.”

“We did notice those scars, among others, but her treatment must’ve been at a private medical facility, because we can’t find any records of her anywhere in the country.”

No… that makes no sense. To his knowledge, Niki isn’t and never has been anywhere near wealthy enough to afford private care. But the doctor has no reason to lie about it. There’s no way for him to figure this out right here and now, though, so he refocuses on her question. Although, he only knows of one medical issue that’s relevant to the current situation.

“Did you notice that she’s pregnant?” he asks quietly, as if just saying it out loud might make it more real somehow.

It feels like it does.

“Yes. A woman of fertile age being brought in without records or next of kin, we’re gonna try and learn as much as we can about before we send her down to surgery. Pregnancy is one of the first things we check in that situation. She’s about six weeks along. Is the child yours?”

He can’t say it out loud, so he merely nods again. But he knows that it’s true. No matter what he’d said to her last night, he damned well knows.

“For the time being, the fetus is alive, but I’m sorry to say that there are no guarantees. If she makes it through this, the healing is gonna take time and a lot of energy, and her body might not be able to do both,” the doctor says, and she sounds genuinely sad now.

Pero doesn’t know how he feels about this. He can’t tell if he’s sad or angry or worried. It’s just too much. He wants Niki to survive. But beyond that…

“We’ll let you know as soon as anything changes, okay?” Jackson offers, and again, he nods, unable to do anything but exist for the time being.

Unfortunately, as she steps out, the police walk in, and he instantly wants to tell them to fuck off so that he can have one god damned minute to try and think. His brain is a beehive, and the queen isn’t letting him think for himself. It’s just loud and incomprehensible and he wants to scream, if only to drown it out for a single second. Instead, he sighs deeply and runs both palms over the sides of his neck, before leaning back and letting his hands come to rest in his lap.

“Mr. Tovar?” the younger male officer asks while he and his partner, a middle-aged woman, take a seat opposite him.

“Yeah.”

“I’m detective Burns and this is my partner, detective Winson. We’ve been assigned to Ms. Morse’s case, and we’d like to ask you a few questions, if that’s alright?”

What a stupid question. What is he supposed to say? No? But they’re waiting for an answer, so the question apparently wasn’t just for show.

“Okay.”

“How long have you known her?” the man starts, taking out a notepad in the meantime.

“A little over five years. She’s a truck-mechanic at the warehouse where I work.”

“Do you know if she has any family?”

“She hasn’t mentioned anyone.”

“What about friends?”

“So far as I know, just me,” Pero shrugs, but both the detectives seem to find that answer interesting.

“You’ve known her for five years, but you have no idea what other people might be in her life at all?” the woman chips in, and he drops his gaze to the floor.

“We’re not… close. Not like that,” he admits, for the first time feeling ashamed of the fact that he really doesn’t know the one person in his life that he calls a friend.

“Like what, then?” the man presses, and Tovar nervously scratches at his own palms.

“We don’t talk much, we just… hook up.”

He doesn’t want to see their judgement, but he glances up anyway, to make sure that they understand what he’s saying. Unexpectedly, he’s met by indifference from them both, which actually sets him at ease.

“I see. So, you wouldn’t have noticed any suspicious activities around her?” detective Burns asks, thereby shifting Pero’s entire perspective on the events which have put him in this room tonight.

“Suspicious activities?” he asks, wanting to know if they’re referring to Niki doing something questionable, or someone else acting dubiously towards her.

“Any faces that kept popping up around her, cars that seemed to show up wherever she did… that kind of stuff.”

“You think someone was following her?” he wonders, and the thought makes him feel sick.

But it also makes him think back on what the nurse on the phone had said.

“Wait… the accident wasn’t her fault, right? Did someone hit her on purpose, is that what this is about? Is someone trying to kill Niki?” he demands, feeling anger begin to take hold of his senses.

Anger is less crippling than care and much easier than pain, so he clings to it, hoping that it’ll give him a place to put all the shit that he doesn’t know what to do with. And more than that, if there really is a human being who is responsible for this, that gives him someone to blame. Someone to hurt. But the policemen remain guarded.

“That’s what we’re trying to figure out, sir,” detective Winson takes over. “Do you know anything about her past? Her hometown, school, sports or social activities that she took part in? Her interests or hobbies?”

“No. All I know is that she likes horses and dogs. And Chinese food.”

And me. He doesn’t say it, but he feels certain that Niki likes him. He doesn’t know how much she cares about him, maybe not at all, but he thinks so. He thinks that that’s why she sticks to their unspoken arrangement without fail. Because he’s all she’s got, which means that he’s probably the only one she really cares about. Enough to make sure that she’ll never lose him.

How horrible it must’ve been, then. To come to his house with the news of the baby, knowing that it would likely tear everything apart. Sitting there with the police, and his only friend on an operating table somewhere beneath his feet, he suddenly wonders what would’ve happened if he hadn’t thrown her out. If he’d had the courage to talk to her.

Would she have been safe right now?

“Alright, I’m gonna level with you here, Mr. Tovar, because you seem like the kinda guy that might go off and do something stupid with the wrong sort of idea in your head,” Winson continues, bringing him back to the moment.

He doesn’t like her tone, though. There’s something unsettling about it. He can’t tell what exactly, but it feels like this woman might be a problem waiting to happen. He hopes that he’s imagining it.

“Obviously, we haven’t had time to really investigate much yet, but the first step of any case is to learn more about the people involved. And since the other driver fled the scene, Ms. Morse is the only person that we have available to us, so that’s where we’ve focused our efforts so far. However, our initial look at her has already created quite a few question marks,” she explains, and the unsettling feeling in his gut intensifies.

“About what?” he asks, finding himself getting almost desperate to learn more about Niki, the one thing he has never wanted before today.

“Well, for starters, her personal file indicates that she’s attended public school in New York, with stellar grades and commendations from her teachers, before being accepted to MIT, where she studied mechanical engineering and graduated with honors. Quite a good start to life, wouldn’t you say?”

“Sure,” he shrugs, because while he knows that MIT is considered a prestigious school, academia has never interested or impressed him.

“Most people would agree. So, why then did she completely disappear after that?” the detective wonders, clearly not expecting him to have an answer as she carries on. “From the day she graduated, more than fifteen years ago, right up until she was hired by her current employer nearly six years ago, there’s no record of her at all. She’d never leased an apartment or bought a house, never had a membership card to anything, never bought a car, never traveled abroad because she’d never had a passport made. Then, six years ago, she pops back up here. She buys a car, rents an apartment and gets hired by your employer, all in the same day.”

Shit. Those are all pretty good examples of “suspicious activities”.

“Okay… What does that mean?” he asks, playing dumb, because he’s already got a few guesses of his own.

But he wants to know as much about where their heads are at as he can, and in which direction that they might be about to take this investigation.

“We don’t know yet. It’s been five hours since the crash and all we do know at this point, is that your friend’s past has a big hole in it. Which also means that we can’t be certain about anything concerning the accident.”

“So, what? You think that she could’ve done this to herself?”

“No, another car obviously hit her. But since this was a hit-and-run, we don’t know what happened or why. And until I know what’s going on with Ms. Morse, I’m not ruling anything out.”

-=¤=-

It takes another two hours of surgery before she’s taken off the table and brought to the ICU, where he’s allowed to see her for a few minutes. She looks… wrong. Her eyelids are too heavy, her body too limp. The color of her skin is off. He’s never seen her sleeping, but it looks more like she’s already dead rather than asleep. He’s been informed that her spleen, stomach and left lung has suffered damage, and that they’ve had to repair a tear in the wall of her heart. It all sounds so bad.

Her right arm is in a cast and there’s a thick bandage on her right thigh, where a large gash has been torn through the skin by either metal or plastic broken off from the center console of the car. Her face is covered in both smaller and larger cuts, some of whom have needed stiches, others that are just taped or glued. She has a concussion, but miraculously, her brain hasn’t swelled. Not yet anyway. They say that she shouldn’t be alive, but she is.

He doesn’t know what to say as he stands there beside her while nurses make sure that she’s properly connected to all the machines around her and that the pillows which support her injured arm and leg, won’t cause her any discomfort. She’s all he has, and yet he can’t find the words to tell her that. To ask her to keep fighting just so that he doesn’t have to lose her.

So much of her is broken and cut up that he doesn’t dare to touch her either, afraid that he might hurt her even with something as simple as a brush of his fingertips. He just stands there, staring at her as if he could wake her up by sheer willpower.

“Her left hand is undamaged,” one of the nurses says, in a voice which is so genuinely warm and caring that it almost makes him cry.

He’s not even sure why. Perhaps just from the knowledge that truly kind people still exist. Or maybe it’s just plain and simple gratitude. But he doesn’t cry, nor does he take Niki’s left hand. He turns and then walks out of the ICU and out of the hospital, back to his car. Once behind the wheel, he just sits there for a minute, breathing hard against the internal distress which plagues him.

He doesn’t know how to handle this. He shouldn’t leave. But he does.

The accident took place somewhere on her route home from visiting him, so he traces it, looking for the scene, not even sure why he wants to see it. He couldn’t have missed it if he’d tried. The rescue vehicles have left, but the police are still there, and the entire scene is cordoned off while the CSI team works. It looks like a bomb went off.

There’s debris everywhere. And not just shattered glass and pieces of the body of the car. Engine parts, entire sections of the exhaust system, things from the boot of her SUV have been thrown as much as a hundred feet from the actual point of impact. The car itself is unrecognizable, standing against a broken lamppost on the wrong side of the road. They’d had to cut the roof off to get to her, but the entire frame of the car is curved in the middle, where the other vehicle ran straight into it.

The side airbags saved her life, but if the point of contact between the two cars had been just one foot further towards the front of Niki’s car, her body would’ve taken the entire force of the impact. She could never have survived that. Which had undoubtedly been the intent. Now that he sees it, Pero is convinced that this crash happened on purpose. There’s no redlight, which means no cameras, and the speed limit of the road wouldn’t have enabled a crash this severe.

He can see how it had happened. Niki is a responsible driver; she obeys the law and is always focused on the task of driving. She had right of way and even if she hadn’t slowed, she would still have checked both directions as she came into the intersection. The other car would’ve had to be coming at her so fast in between the buildings to the left, that even if she had seen it, she wouldn’t have had time to swerve or even react.

But why would someone want a simple mechanic dead?

Clearly, Pero doesn’t know her, he’s never made much effort to, so it’s possible that those nine years in which no one seems to know where she was or what she was doing, she could’ve lived a different life. Perhaps one which made her some enemies. He doesn’t know her, but now he needs to. He needs to understand this. Because whatever happens next, the events of this night have changed things.

He doesn’t have any other friends, but he knows some people. People who can help him dig up some information. So, he leaves the crash-site and heads across town. It’s not even 5 am yet, but the man he needs to see is already up, he’s sure of it. The guy rarely sleeps more than four hours a night, courtesy of PTSD from his time in Afghanistan. And sure enough, the door opens just seconds after he knocks, and a pair of wide awake, crisp blue eyes seek him out.

“Tovar… Long time no see.”

“Hey, Will,” he nods, just as the man takes in the state of him.

“The fuck happened to you?”

“Shit. Shit happened,” he deadpans, and then sighs heavily and rubs his forehead for a moment. “I need you to help me find something.”

The man deliberates for a few beats, hearing that. There’s water under the bridge between them, lots of it, but he knows Pero well enough to know that he only ever asks for help when something is seriously wrong.

“Yeah, alright,” he finally decides, letting go of the door and turning to head back into his house, knowing that his guest will follow.

They walk into the kitchen where his host prepares coffee for them both, before they take a seat at the table. Will might be a war veteran, but he’s better off than most. After his service, he started up a private company which he can manage from home, and which keeps him in good financial order. The house isn’t particularly fancy, but if one looks around, there are items in there which seem too pricy for someone like him to afford.

Such as a top brand coffee maker. The type that can use those little capsules for each cup, or grind beans to the drinker’s preference. Further into the house, there’s a computer system which would make NASA envious, where he does all of his work, primarily consisting of background checks, which anyone can hire him to do, entirely legally. But his skillset is much more extensive than that.

“So, who am I looking at?” he asks once they’re settled.

“Her name is Nikita Morse. She works at OffSup too, but she’s a mechanic,” Pero explains, hoping that there won’t be too many follow-up questions.

“And why am I looking at her?”

“Because I think someone’s trying to kill her, and it seems to have something to with a nine-year period when the police can’t find any records of her.”

“Okay. But why am I looking at her?” Will repeats, obviously referring to why his guest has taken an interest in this person at all.

He doesn’t want to talk to anyone about Niki, and least of all someone who might ridicule him for it, but the man won’t help him unless he answers his questions.

“She’s a friend,” is all he says, hoping it’ll be enough.

“You don’t have friends.”

“She’s the exception.”

William thinks on that for a moment, studying his guest closely over the rim of his coffee cup while he takes another sip. He knows that Tovar deliberately avoids making friends with people, and he knows why. So, he has every reason not to believe him.

“You fucking her?” the man asks, and he damned near throws his coffee at him.

He doesn’t need to know that. He’s only asking as a way to gauge his guest’s honesty on the subject, which might determine whether or not he agrees to look into it.

“Yes,” Pero begrudgingly admits through tight jaws, daring the man to try and pry any further, but he wisely decides not to.

“So, what’s happened to bring you to my door?”

“There was an accident and now the police are looking into her life, and I got the feeling that they want to find something incriminating about her. But that might just be how my fucked-up brain interpreted a strained situation… I don’t know,” he offers, hoping that by being a bit more open, Will might feel somewhat more cooperative.

“You think they’re looking for a scapegoat? For an accident?”

“It wasn’t an accident. Like I said, there’s stuff in her past that doesn’t add up and I need to know what the hell it is before the cops find out, or I’ll have no chance to protect her.”

“You actually care about this woman?” his host asks, but with contempt more than incredulity, which makes Pero decide that the conversation is over.

“Please, just look into it,” he says, before standing and heading for the door, leaving his empty cup on the table.

On his way back to his house for a shower and some breakfast, and more coffee so that he’ll be able to think rather than just stay awake, it occurs to him that she might not be safe at the hospital either. Whoever it was that had hit her car, they must’ve left thinking or at least hoping that she’d died, so once they learn that she’s still alive, there’s every chance that they might try to silence her again.

The thought worries him. But so long as she’s in the ICU she should be safe. There’s too much staff there all the time for any unfamiliar face to slip past. The nurses all know each other and the entire support-staff by name, they have eyes on the patients constantly and because of the very limited timeframes in which loved ones are allowed to visit, they keep track of everyone who comes and goes.

But his hair is still wet when he returns to the ward, with a thermos mug in his hand since he’d opted to eat in the car on the way instead and has yet to finish the giant espresso that he’d made for himself. He registers with the nurse at the front desk of the ICU. The nametag on his chest says “Frank”.

“Sorry about before,” Pero apologizes, to which the nurse looks puzzled, so he adds: “I screamed at you on the phone.”

“Oh, that’s alright. Most people dislike being called in the middle of the night. But thank you,” Frank replies with practiced ease, no doubt used to verbal abuse on the job. “Nikita’s doing better, so if you like, you can stay with her for a bit.”

He’s surprised to hear that. It’s only been a couple of hours since she came out of surgery, after all. But it’s good news. And he’s in dire need of good news.

“Thanks,” he says and then walks over to the third slot where her specialized bed is parked in the middle of an array of machinery, and a blue sheet is all that separates her from the other slots.

There are four in total, but only one of the others is in use for the time being. Which means that the ward is pretty quiet that morning. The staff is working on computers, writing in charts and quietly talking amongst themselves. As he sits there, watching Niki fight for every breath, he listens closely to everything around him, trying to learn the noise of the hospital so that he’ll know if something changes.

But soon enough, looking at her takes hold of his entire focus. She’s so fragile. Breathing on her own but otherwise motionless, in that way that only dead things are motionless. Stationary. Static. It makes him want to shake her. To provoke some form of a reaction, even just a flutter of her eyelids. But he knows that he can’t.

He closes his eyes against the uncanny stillness, preferring even the darkness to the visible evidence of her torment. But it isn’t darkness that meets him when the image before him falls away. Instead, the memory of their first time together pops up in his mind. She had asked him if she could come over for a drink that night, but he’d known as soon as she’d spoken what she’d really meant by that. The words might have concealed her true motives, but her face and body had not.

She’d walked into his house that evening with a hunger in her eyes. He’d offered her a beer and after just one swig, she’d stepped closer to him, eyeing his lips and licking her own. The kiss had been chaste. Brief and tentative, like a person about to take a bath, putting their fingers in the water first, to check the temperature. But they’d both wanted more, and they’d both asked for it, with everything except words.

Her hands had been demanding on his hips, craving friction, and he’d given it to her. She’d been so brave that night, letting him explore her skin, learn her desires and soft spots, her cravings and pleasures. And in turn, he’d shown her his. In just a couple of hours, they’d learned more about each other than they had in the two years leading up to it.

He has never failed to make her come. She looks so beautiful when she climaxes that he would never settle for less than getting to see it at least once each time. She never fails to make him feel complete. More than just satisfied, he feels proud and grateful when she reaches for him. When she tells him how much she loves what he does to her, even when he does his damnedest to tease and frustrate her. Even when he’s in a mood and needs to take before he can give.

Those are the only times that he feels ashamed. The only times he worries that she might not let him touch her again. He’s rough when he gets like that, but he never wants to hurt her, or make her scream. He’s never told her that, but she still knows it. She knows what he feels better than he does himself, but she never tries to teach him how to better understand himself. If that was something he wanted, she assumes that he’d ask for it.

He opens his eyes again, leaving behind the soft shimmer of the sweat on her skin after she’d come undone for him that first time, within his mind’s eye where nothing can ever destroy it. He returns to the ICU. Her skin is too dry here, in the air-condition.

“Good morning, Mr. Tovar,” a familiar voice says to his right, and he looks up to find Doctor Jackson coming to a stop beside him. “I see you’ve been through a shower. Or did you just stick your head in the sprinklers outside?”

His hair is still not dry. He runs a hand through it to try and get some more air into it.

“Went home for a bit,” he answers, and she hums in agreement.

“Good. Don’t forget to take care of yourself too. But anyway, I just wanted to let you know that my shift is over now, and that Doctor Leo will be replacing me for the dayshift. He’ll be coming by in a while to check on her.”

“How is she?” he asks, hoping to hear that the doc can read something out of all those monitors that he can’t, and that Niki is still improving.

“You know, throughout all of this, her heart has never faltered,” Penelope says, and there’s admiration in her voice. “Even when she was first brought in, broken and shocked and having lost so much blood, her heart drummed steady and firm. That’s what convinces me that she’s gonna make it. The machines tell me that her vital signs are good, but I don’t trust them even half as much as a person’s heart.”

She squeezes his shoulder gently, and then leaves, but her words stay with him. He likes those words. They give him peace of mind.

A little while later, a nurse he hasn’t met before, another dayshift replacement, approaches him and tells him that he has to leave for a while. He doesn’t protest. But he doesn’t step any further away than that he can still see everyone who walks into her slot. Doctors and nurses walk in and out, the sheet is pulled back and forth in between procedures and cleaning routines for her wounds, new IV bags are placed. Everything is fine.

Until he walks in. Pero knows the moment he sees him, stepping into the ward and stopping to survey the area, that he doesn’t belong. He’s too calm. Practiced sort of calm. The ICU is a place of distress, either internal or external, but both are visible in all the people who wander around in there, save for the staff.

This man isn’t here to meet a loved one, he’s here to work. But if he was part of the staff, he wouldn’t need to orient himself in the environment. He wouldn’t stop just inside the door, he’d go to his colleagues, or find the locker rooms and get changed. Tovar watches him as he locates Niki, stares at her as though she was little more than a sheet of paper, and then turns around and leaves.

She’s not safe here anymore. But how the fuck is he supposed to get her out of here in her state? Where does one even hide an intensive care patient?

-=¤=-=¤=-=¤=-=¤=-=¤=-=¤=-

Part 2

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