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sixosix · 1 year ago

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SLEIGHT OF HAND | LYNEY

summary you will not let lyney get to you. unfortunately, lyney already got to you the moment you met eyes. after all, what is a magician if not an expert in stealing hearts?

or, local sumeru architect goes to fontaine looking for inspiration and comes out of it with three rainbow roses and a crushing magician.

warnings 13+, gn!reader, follows the fontaine archon quest, so there are major spoilers throughout the entire fic! MURDER (lyney trial spoilers) + feminine french pet names ough + bff!Aether loml + sweet talker lyney + KISS SCENE (suggestive)

notes 8K words. thank u to my french bff art @aanobrain who said lyney is a magician he would say mon lapin 🤧❤️ + other various french pet names. thank u to ellie hyomagiri & earthtooz too for hyping this up, my supporters…

“500,000!?”

Sumeru streets are always bustling with its people—from children skipping around the neighborhood to frantic scholars who zip back and forth before returning to their homes when the moon is high. However, the sun is beating down on everyone right now: street vendors are making a profit, dogs are barking as they play fetch with laughing children, and you stand across the blond traveler and his floating companion.

You wince at the volume of Paimon’s shrill voice, inciting bypassers to send miffed glances your way. Embarrassed, you cover the side of your face with a hand, whispering, “Is—is that not enough? I can—”

“No, no, it’s not that!” Paimon’s arms flail around, eyes blown comically wide. “It’s just, you know, more than what we earn from our daily commissions combined!”

“Oh, I see.” you nod, relieved. “Well, I can lower—”

“No, no, no, no,” Paimon interjects hurriedly, and even the traveler shakes his head. “Pleasure to do business with you! Paimon and Aether, at your service!”

“Really?” you can’t believe your luck—the traveler himself agreed to escort you to Fontaine! Or does it count if Paimon agrees on his behalf? “That's a relief. Even Katheryne of the guild had a strange expression when I posted my commission.”

“It’s probably because of the amount of zeroes you might’ve accidentally put,” Paimon murmurs.

Aether tugs on her foot as if warning her. “We'll be leaving soon. Are you prepared?”

“Oh, yes. My stuff’s over there by the bench, you see?”

Aether and Paimon’s faces simultaneously fall. “All of that?” Paimon starts counting it, gaping when she has four little fingers held up.

They sure complain a lot. “You can still back out.”

Aether takes a deep breath, making his way over to your luggage. When he brushes past, you hear him chanting 500,000; 500,000; 500,000 under his breath. He wordlessly carries all of them, his chest puffed and expression grave.

“They’re heavier than I thought,” Aether wheezes out as Paimon flits worriedly around him. “How long are you going to be staying in Fontaine?”

“Oh, just a day or two, maybe,” you say, taking pity and taking one bag from him. “Most of what’s inside are art supplies.”

“Ah,” Aether says.

“500,000,” Paimon reminds him.

“We’re close,” Paimon says, flying back to where you and Aether are still walking behind, him heaving and you offering water now and then. “I saw a huge ravine-looking view! It was like a city on a waterfall!”

“R-Really?” Aether puffs out a breath, sweat rolling off his temple.

You tried prying some of your bags away from him when it seemed like there were monsters up ahead, but he refused instead to fight them with one hand on his sword. He still won. You guessed that he was trying to make traveling easier for you, yet all you felt was immense worry.

“Are you feeling okay, Y/N?” Paimon asks, floating beside you. “You look unwell.” You should ask your companion that, instead.

“I’m a bit nervous. After all, it’s my first time traveling outside of Sumeru.” You smile, patting her head. She doesn’t seem to mind, beaming back. “But I need to get out of my comfort zone to be better, right?”

“That's right! Paimon has a feeling you’ll enjoy Fontaine!” You and Paimon glance at Aether when he heaves a heavy breath, yet he only waves the pair of you off with his free hand. “Before you know it, you’ll be itching to travel again once you’re back in Sumeru.”

“I'm only there for work. I just need to learn a lot, and then I'll enjoy it.”

“Still a student through and through, huh…”

“I can see it,” Aether chimes in, looking all too relieved to rest his arm finally. “I can see Fontaine up ahead.”

You feel the cool breeze brush against your face, a refreshing change from the past hours you and the other two have been trudging through the desert. You could strip off layers and dive if you could. You can make out the harbor even miles away, pouring water out like an endless waterfall stretching for miles.

Arriving in Fontaine is introducing yourself to the rustle of layered skirts, the water-kissed smell, and citizens left and right babbling about tragic endings and thrilling climaxes.

Aether sets your bags on the floor with a heavy exhale. Paimon feeds him with another jug of water.

“I guess we’re here now.” You pull out a heavy pouch you’ve been keeping in one of the bags Aether had been holding over his shoulder. Paimon takes it with greedy, greedy hands. “Thank you for keeping me safe and carrying my luggage, Traveler— are you even listening to me?”

“There’s a girl over there,” Aether says, now staring ahead.

You and Paimon turn to look; sure enough, someone is standing by the edge, looking forlornly over the water. Half of her foot is off the platform, making Paimon fidget.

She gasps. “She isn’t going to jump into the water, is she? Maybe we should go check on her…”

Halfway through Paimon’s sentence, you gathered the courage to speak to the girl with the cat ears.

“Hey, miss.” Her ear twitches. “Is something the matter?”

She turns, looking faintly surprised. If you weren’t so close to her, you wouldn’t have been able to tell there was a change in her expression. “I'm fine. thank you.”

“Oh.” Now things are a little awkward. “Is there something in the water you’re looking at? You might slip if you keep tipping forward.”

She peers below, unworried—silent.

“As long as you’re okay, I guess,” you sigh, awkwardly hovering above her shoulder when realizing it might come off strange if you touch her. “I’ll leave you be.”

Her lips twitch, something close to a smile. You don’t stick long enough to admire it, heading back to Aether and Paimon and shrugging at their inquisitive looks. “She says she’s fine.”

“I think it’s time for me to separate,” you say. “I want to take all of it in as much as possible. Paimon has my payment. Thank you both so much for keeping me safe.” Mostly Aether, though. But Paimon was there, emotionally.

“It’s no problem,” Aether says, his smile warmer than when you first met him. “Stay safe out there. You can look for us if you need anything else.”

“I don’t always pay 500,000 for each of my commissions.”

Paimon wilts. Aether flushes, stammering, “Not what I meant.” You laugh heartily as they wave when you walk off to the aquabus, hopefully, prepared for what Fontaine will give you.

Your sketchbook is a page away from completion when you hear about a magic show at the Opera House. Not that it was hard to miss—everyone and their grandmothers were prattling about nothing else but the entire day.

Fontaine is known for its love for dramatics, but the twins they keep mentioning must be a one-of-a-kind spectacle to have half their region’s population speak about them so reverently.

After wandering for hours, taking in the endless sights of fresh water streaming and grand castle-like modern buildings, you find yourself in the Fountain of Lucine. You’ve heard of Fontaine being somewhat titled the ‘City of Love,’ but seeing couples surrounding each nook and cranny of the tourist spots was still astonishing.

(You console yourself by thinking that there’s something romantic in sketching frantically while the rest of the crowd are sucking faces.)

To your luck, you spot three familiar heads in the fountain plaza.

Aether senses you before you can even say anything, glancing to the side and smiling when you wave at him.

Paimon flutters excitedly. “Y/N! We didn’t think we’d see you again this early. You look like you’re glowing.”

“Was it that obvious?” you laugh sheepishly. “Fontaine is beautiful; I couldn’t even stick too long in one place before I see something else that catches my attention.” You look to the girl you met earlier, who nods politely. “Hello. Are you three acquainted now?”

“Mhm!” Paimon says, hands on her hips. “This is Lynette! She’s inviting us to the show they’re holding here!” She gasps, “Speaking of—”

“Ah,” Lynette says quietly, “I couldn’t get an extra ticket. I’m sorry.”

Lynette is the magician you keep hearing about? With her seemingly reserved personality, you wouldn’t have guessed it. “Oh, no, it’s fine. I wouldn’t want to impose.”

“Paimon,” Aether speaks up. “They gave you your ticket, right? Why don’t you just float next to me or sit on my lap?”

Paimon’s eyes sparkle. “Great idea! That way, I can give my seat to Y/N, right?”

“You guys…” Your chest feels warm as Aether hands you one of the two tickets in his hand. “You really didn’t have to.” Is this what 500,00 gets you? The loyal companionship of Aether and Paimon?

“It’s a good idea,” Lynette says. “My brother wouldn’t want you to miss the show. He’d be devastated.”

“If you insist, then I suppose I can’t refuse.” Aether and Paimon do a cute little cheer. “But I need to return to the hotel; I can’t be watching a magic show carrying all these.” Surely Aether can understand.

Later, with your hands finally empty and charcoal-free, you rush back to the Opera Epiclese, the person standing guard kind enough to open the doors despite being a minute late.

“Welcome, one and all, to the Opera Epiclese!” The audience roars with cheers as the spotlight illuminates a figure on the center of the stage. You hurry to your seats, brushing past Aether and Paimon. “I am the star of today’s show, Lyney.”

Lyney bows, then stands upright with a Cheshire cat grin.

The thunder of the crowd’s applause is deafening. If you weren’t able to see it, you’d think that you hadn’t been clapping at all—senses numbed and your fixed stare all on the boy on the stage.

Your eyes catch on the small braid on the side of his head before the gleam of his eyes hypnotizes you.

He’s handsome, you think dizzily at the back of your head.

“Don’t blink,” he says, his voice lower as if meant to be a whisper, “or else you might miss it.”

The show proceeds. A dove soars away from inside as he flips his hat; you flush at hearing the soft laughter that slips from him after. The cards that materialize out of nowhere descend to the floor. His fingers shuffle the cards while talking to keep the audience satiated; they fly off his hands, yet he doesn’t lose focus, stretching them mid-air with a sleight of hand. They fall apart and come together neatly and precisely.

His stage presence is demanding. It would be as if Lady Furina herself would accuse you of committing a crime if you were to look away for even a second.

Then, when he scans the crowd, busy twirling his cards in his fingers, his gaze catches your awed ones.

Something in the air shifts. Or maybe it’s that it slows.

A card slips from his grasp. A mistake. He blinks and breaks eye contact, laughing heartily to play it off. But you don’t believe it—not when you swore your limbs locked in place as well when lilac drilled into your soul.

You breathe, hands bracing against your chest. What was that?

You would’ve played it off as something you imagined if not for Lyney continuing to glance at you occasionally. His slip-up had been forgotten, as though it was all part of the show.

(Is it also part of the show when it seems he’s unable to tear his eyes off of you?)

Of course, the twins prove their worth. They showed you exactly why the people of Fontaine adore watching them through theatrical magic, cards in their sleeves, and defying logic.

You’ve shuffled to the edge of your seat as Lynette disperses into bubbles and comes back alive. You’ve held your breath as Lyney emerges from the box across he was in a moment earlier.

You’ve also been witness to the murder of Cowell.

CRASH.

The shatter of glass resounded along with the horrified gasps of the audience. Sickeningly enough, you could almost hear the crack of bones if you hadn’t been crying out in alarm. Yet, as they gape and shriek over the sight of a limp arm popping out, you find your gaze tracing back to Lyney, who stands motionless in front of the box.

When Lady Furina points fingers and has everyone siding against him, the guards escort the audience from the Opera House. All evidence presented left Lyney in a spotlight unlike his performance: with a disgusted and unamused crowd. Even you have to agree that it isn’t looking well for his case at all.

Yet all you can think of as you leave the room is that Lyney looked as terrified as everyone else was—much too raw of an expression for someone to accuse him of anything at all. He looked young and scared.

(His hands were shaking.)

The rest of your Fontaine trip is admittedly duller when you’re a little more familiar with its city and don’t have a yapping little fairy and a capable Traveler by your side. It’s hard not to hear chatter about the events that went down: Lyney’s trial, Aether volunteering to be his lawyer, and the truth behind the real murderer.

It solved a case beyond the murder of Cowell. Fontaine sure has its mysteries, and the crowd sure loves them as they would a magic show.

You keep your hands busy. Last night, you found yourself thinking back to the magic show, to deft fingers weaving through cards, to violet eyes that kept on flickering to you. By the time you snap back to reality, you’ve subconsciously drawn shapes and lines that suspiciously look like the magician himself: the curve of a smile, piercing eyes, and you entranced by it all.

Flustered, you crumple his face staring back at you out of sight. Yet you can’t bring yourself to throw it away.

You shove the last bit of garlic baguette in your mouth to furiously bat these unwanted thoughts away.

“Isn’t that Y/N?” Paimon’s voice is unmistakable, a short distance off.

You jump out of your skin, spinning to see Aether and Paimon waving and walking over to you. You thought they'd already left Fontaine after that; you wouldn’t blame them if they did.

“Y/N! We haven’t seen you since the Opera House performance,” Paimon exclaims, twirling around your head like a thrilled fly circling a trash can.

You hold onto her back, hoping she’ll stop making you dizzy. “We were escorted out before I could say goodbye. I couldn’t watch the court trial but heard it all turned out fine.”

“That’s right!” Paimon nods proudly. “Paimon helped a ton during it; you should’ve seen it! What have you been doing?”

“I found a fellow architect while visiting the cafe nearby, and we chatted for hours,” you say, remembering that your voice is hoarse for that reason. You also don’t tell them you couldn’t get a certain magician off your mind. “I learned a lot. I don’t regret coming here one bit.”

Paimon says something else that you’re sure you’ve nodded absentmindedly at while your gaze wanders over to the two familiar people a few feet behind, watching you three with cat-like eyes—and it’s not just because of Lynette’s unique features.

“Those are the magicians, right?” you gesture behind Paimon and Aether as if you haven’t already familiarized yourself with their faces.

Paimon nods. “Uh-huh. You should introduce yourself! They look like they want to talk.”

Something about that feels foreboding. “Um, no, it’s fine. I don’t want to be rude and interrupt your conversation.”

“No,” Aether says firmly. He seldom speaks; you might as well play along if he says so. “Besides, Paimon is right. Lyney wants to talk to you, you know?”

“Oh, yeah! He kept mentioning seeing someone sitting beside us! And it couldn’t have been Neuvillette because he said it was an unfamiliar beauty that bewitched this weak magician’s heart.” Paimon nods, even recalling how he’s enunciated each syllable theatrically.

“I’m sorry?” you blurt. “Lyney recognizes me? What did I do?”

“Paimon thinks it’s because Lyney is curious about who Lynette met! He was like that with us, too.” Paimon changes her pitch to match Lyney’s. “Are these your friends, Lynette?”

Aether’s eyes feel like they know something you don’t. “It won’t hurt to strike up a conversation with Lyney. He’s been shaken up since the trial.”

There’s something unspoken hidden in his words. “What does that mean?”

Paimon doesn’t wait for an answer, grabbing you by the arm and dragging you to where the twins are waiting. Aether chuckles as he jogs behind.

“Paimon, Aether,” Lyney says, almost sly, “You haven’t introduced us to your friend here.”

“Paimon can do it!” She floats on top of your head and does a bit of jazz hands. “This is Y/N, the one who commissioned us to escort them from Sumeru up to Fontaine.”

“Generously,” Aether adds.

It’s a little embarrassing to have the legendary Traveler and Paimon introduce little old you to a famous magician such as himself, but his grin is still excited.

“From Sumeru?” Lyney repeats, smiling wider when you nod—as if that crumb of attention is enough for him. “I see.”

He performs a bow around the same height as where your hands rest; he takes one, kisses the back of your palm, and smiles against your skin. “I’m Lyney, and she is my sister, Lynette.”

“It’s nice to see you again.” You smile at Lynette, who nods in return. Lyney straightens to look at his sister.

“We met when the Traveler and Paimon just arrived at the harbor,” Lynette sighs even without looking at her brother.

“It’s a pleasure to meet you,” you say, meeting Lyney’s eyes. The spot where he kissed is still warm—tingling. “Your show was incredible, despite what happened. I’m glad that the truth revealed itself.”

“Thank you.” Lyney’s gaze sharpens. “I saw you at the performance, yes. I was worried for a second you might steal the show if you were to come up on stage.”

You blink. “Are you saying—”

Lyney grins, “I apologize that the night had to end that way; it must’ve been horrifying. Say, what if I give you a little show right now to make it up to you?” Did he make it up to each one of his audience, too?

This is not a man acting “shaken up,” as Aether put it.

“You really don’t have to.” You glance at Aether and Paimon, silently asking for help; however, they’re too far gone, urging you to say yes with gestures and encouraging nods.

Lyney tilts his head, demanding your attention on him once more.

You sigh. “I would love to see it if you don’t mind.”

“Of course!” Lyney looks like he’s the sun bursting personified. “It would be a pleasure, ma chérie. Not to worry, it’s nothing life-threatening. I just need you to focus on me.”

Not that it’s hard. The others have become a dull buzz in your mind as Lyney holds your gaze. “Okay.”

Lyney smiles, much softer, satisfied. “Good. Now,” he tips his hat, “recently, I’ve received a little lesson from someone about the language of flowers. Are you familiar with them?”

“Not in Fontaine, no,” you mumble, watching his hands closely. You were expecting a rabbit to hop out of that hat any second now.

“Shame. But I suppose I wouldn’t want to spoil the fun.” Lyney snaps his finger, then deposits his hand inside his hat. “Hmm… Oh? Something’s not quite right. Would you mind looking into this hat for me to see if the flower is here?”

You hesitate. The hat is so close to him.

Swallowing, you nod, leaning in to inspect his hat at a careful pace. All you can sense is the faint scent of heat Lyney is emanating, the breath you two share, and the pounding of your chest. You swear you could also hear his, matching yours.

“The hat’s empty.”

Lyney smiles wider. “Yes, perhaps because you already have it.”

You jump back in surprise, your hands patting your body to see where he could have snuck the flower in. With your frantic movement, the flower falls off from what seems to have come from your head—Lyney catches it.

His mouth carves into a smirk, leaning to invade your personal space, his free hand coming up to tuck hair behind your ear. “Careful.”

Your face is burning. Plucking the flower out, the delicate and tender pink sears into your palm. “What does this flower mean?”

“What does it, I wonder?” Lyney whispers thoughtfully. “I suppose you’ll have to tell me once you find out.”

And when he inclines backward, it feels like you can breathe again. Time flows normally, and the people passing by seem much louder than before—as though you’ve surfaced from underwater.

Lyney clears his throat. “Shame I haven’t prepared myself a grand show for you, but I suppose that would call for another time, wouldn’t it?”

Lynette is looking at Lyney as if he is stupidly amusing.

“Thank you,” you say, burning, burning. “For the show, I mean.”

“That was a little weird,” Paimon whispers to Aether, but she is terrible with keeping volume and has everyone turning to her with varying expressions. “P-Paimon means that was good! Wow, Lyney! Isn’t that a different flower you gave us? That’s the flower Charlotte was talking about, right?”

“Rainbow rose?” Aether supplies.

“Yes! It means—”

“Ahem.” Lyney is quick to interrupt. “Lynette and I must take our leave now, if you don’t mind. It was fun catching up with you two.” You have to hold your ground and not look away when he hones in on your figure. “And it’s a pleasure meeting you. Don’t be a stranger. Look for me if you want more.”

His smile is a little devilish, you now realize.

“Bye,” Lynette says blankly, following after her brother, who seemed to be hurrying to exit.

His ears were red.

“You’re still staring.”

“I am not,” you rebuke hotly, flailing to cover Aether’s mouth with your hands. Yet all it does is bring your attention back to where Paimon and Aether are staring—the rainbow rose on your person.

Paimon and Aether yelp when you drag them away despite Lyney having already left the scene.

“Hey—! Don’t just go dragging Paimon around like a balloon like that! Did Lyney get to your head that much?”

“He did not.”

Paimon tilts her head, frowning. You shy away from her worried gaze, glaring at the flower instead. You still don’t know how Lyney managed to get it there; you hold it to your chest, where your heart is racing miles per minute because of his stupidly smug smile.

“What does this flower mean, Paimon?”

Paimon seems elated to be of help. “Easy! Charlotte told us that Rainbow Roses mean ‘passion’ and most notably ‘romantic encounters’!”

“Passion,” you curse. The rose seems as if it is staring back innocently, unknowing of the turmoil you’re going through because of it. “Romantic encounters.’ ugh.”

You can still remember how Lyney’s eyes twinkled as you felt his breath against your face.

“Ooh, he thinks he can trick me. He thinks he can affect me just because it pleases him to do so. I’ll show him. I’ll show him! I am not a blushing maiden!”

“You’re already very affected by this,” Paimon says, yet it’s lost by your newfound determination. Two can play at this game.

You’ve definitely been staying in Fontaine longer than what you told Aether and Paimon, but you can’t leave yet. Not when you found yourself walking to a flower shop to purchase a vase, fiercely digging through soil, turning gentle when your fingers reach for the Rainbow Rose. Not when you see it in the corner of your eyes as you try to sleep, and you find yourself daydreaming about a charming violet-eyed virtuoso.

It’s for research, you excused lamely at the hotelkeeper who didn’t ask why you’re extending your stay. In truth, not that you’d tell anyone. It was because you were hoping for another grand show from him. A farewell show for you—closure.

If you were to travel back home and get too drunk to think straight, Kaveh would learn about your crisis (romantic awakening?) and laugh at your face.

In hopes of looking for your Fontaine architect friend, you spot Lyney instead, on the side of the street surrounded by cheering kids. They clap and jump, and Lyney laughs. “One more, one more!”

“Again?” Lyney does an exaggerated sigh. “I’m starting to run out of cards in my sleeves. I’ve guessed my entire deck from your hands by this point!”

“But, Mr. Magician,” one of them whines, pouting up at him and blinking, “we want to see more! We want to know how you do it!”

“Alright, how about this, hm?” And then Lyney peers right at you. Ironically, you’re the one startled when you’ve been watching that entire spiel, and he hasn’t acknowledged your presence beforehand. “Y/N, would you mind giving these children a little show with me?” He gestures for you to come closer.

“What show?” you ask suspiciously, taking slow steps in case he pulls out another flower out of nowhere.

“You don’t have to worry,” Lyney laughs. “Will you be my assistant for this show? You are very familiar with this trick.”

“Please, we want to see!”

You falter at the little kids’ excited grins, especially when paired with Lyney’s pout and round eyes. “Okay, tell me what to do.”

His eyes do the little gleam again. “Stand in front of me, mon lapin.”

Your heart is skipping beat after beat, making itself known as you shuffle until Lyney is directly behind you.

“Relax, chérie, you just need to stand still.” It’s a little hard to relax when you feel his breath against the back of your neck, but you won’t give him the satisfaction of admitting that, so you keep your chin high and relax your shoulders. “Good.”

He begins to speak louder to his awaiting audience. “I know it’s hard to keep your eyes off this beauty before me, but watch the hat for a surprise, alright?”

He flips it for his little audience, one hand resting on your waist and the other extended to hold his top hat. The proximity is almost suffocating. You watch with bated breath, and they complain about it being empty.

“Oh, is it?” Lyney hums, twirling the hat until it’s flipped upside down, presented right before you. “Perhaps I need my assistant’s help.” You snap out of your daze when you realize he’s talking to you. “Y/N, do me a favor and show them the flower inside.”

You reach inside the hat and, much to your surprise, feel a stem. You pull it out; the Rainbow Rose stares back at you, almost mocking you, saying he did pull out a flower out of nowhere. It's this trick again.

The kids gasp in awe and confusion—it’s all the same for Lyney, who snaps his fingers and creates magic like he was made to. Like magic was for him to summon with his hands.

“What? It was empty!”

“Where did that come from? I was watching Mister Magician’s hands the whole time!”

“Are you a magician, too?”

“No,” you say lamely, holding the rose, feeling Lyney still patiently standing behind you. Heat crawls up your neck. “No, I’m not. It’s all Lyney.”

“It’s all me,” Lyney echoes in amusement. “You’re quite magical yourself.” Finally, he spares you, pulling away to stand beside your figure. He doesn’t take the rose back—maybe even give it to one of the children. He knows exactly what he’s doing. “That’s enough for today. The sun is setting, and your parents might get worried.”

They pout and slump their shoulders, but Lyney has this older brother's sternness to him that has the children scurrying back home anyway.

You then realize having to stand in front of Lyney was unnecessary.

The flower is warm. Lyney’s eyes slip to yours.

“I didn’t even have to stand in front of you like that,” you complain, heart inclined to race off your body.

“Yes, but I feared that I would slip up again if I were to catch a glimpse of your face,” Lyney admits smoothly. His lips curl into a smirk when you stare wordlessly. “What? Don’t believe me? I had to improvise when I saw you watching from afar.”

“A great magician such as yourself? Making a mistake? I doubt it.”

“You already have such high expectations placed on me, chérie,” Lyney says, his smile easy, but his ears are a little red, poking out from his hair. “That’s no good. With no audience, I’m just plain ‘Lyney’ to you.”

“No trickery? No cards up your sleeves?” you play along.

Lyney doesn’t miss a beat. “No, though I do have a few more roses begging to be held by your hands.”

“They can keep begging.” Lyney grins wider when you glance down at his hands. “Do you give them off to everyone you meet?”

“Who do you take me for?” Lyney isn’t offended; he laughs, delighted. He is preening under the sunset—or maybe it’s your attention. “Of course not. At least, not like this.”

You stare, unimpressed. “Sure.”

“So cold, chérie,” Lyney sighs, plucking the stem from your fingers to slot it behind your ear. It seems he likes doing that. “Here I am, trying to get you to warm up to me, and you treat me like this.”

“You don’t have to. I’ll be going back home soon anyway.”

Lyney’s expression shifts into something more unrecognizable, his eyes dipping down to somewhere below your nose. “Oh. Avoiding attachment?”

You nod.

He grins, and he’s still so close. He knows how to entrance his audience, pulling you in until you forget to resist. Always watch the hands; yet Lyney could be digging a dagger to your side at this moment, and you wouldn’t even notice.

“I’m flattered you even want to avoid me because you know you’d get attached,” he purrs, tilting his head. Is Lyney just big on personal space?

“Don’t assume,” you retort. “I know how guys like you think. Even a magician as great as yourself can’t trick someone who’s already seen through it.”

“It would be easier if it were just a trick, wouldn’t it?” Lyney sighs, much to your confusion. “I take it that someone has told you what this flower means?”

You’ve nearly forgotten all about it. “Yes.” You find yourself unable to look directly into his eyes. “I know.”

But even with that, you can still feel his heavy gaze, pinning you down and threatening the strength of your knees. You suppose it comes with being a performer—watching his audience carefully, pinpointing each micro expression to say the right words.

“There doesn’t have to be any attachments.”

“What are you trying to say right now?”

Lyney’s reaches for your hip, sharing your gaze like he doesn’t know how to do anything else. “That you enamor me. That I am holding back from wanting you. I know you feel the same—you can never hide anything from a magician. But if you’re concerned,” he mumbles, “then this doesn’t have to mean anything. You may call it infatuation.”

You want to laugh. Or maybe you want to cry. Most of all, you want to nod helplessly, wrap your arms around his neck, and give in. It’s hard not to when he looks at you like that. “You want me that bad?”

“I almost want to disagree.”

“Almost?” Lyney gets closer, and you stop him with a palm on his chest. “We’re outside.”

Lyney grins. “Have you forgotten what Fontaine is also known for? No one would bat an eye. Love is in the air, and all that.”

“Absolutely not.”

“So still you’re letting me?”

You laugh this time. Letting him, as if you aren’t the one itching to pull him close and find out what he’s like behind the curtains. “Are you asking me as plain old ‘Lyney?’”

Lyney brightens, clearly pleased there wasn’t a ‘no’. “Yes.”

“No tricks?”

“No tricks. No strings.”

You let him lead you away into some dark alleyway. He kisses you like he was longing to do so all his life. You have only met him that fateful day, not even a week ago. But you claw at him like you get it—like he’s ruined you for anyone else the moment you shared gazes in the Opera House.

Romantic encounters, you quietly recall as Lyney swipes a thumb over your aching bottom lip.

You don’t see Lyney the day after that. And for some reason, it makes the itch worse. (Perhaps it’s because you’ve gotten a taste and can’t get enough.)

It’s mostly your fault, the sudden disappearance—you’ve cooped yourself up in the hotel room, buried your face in pillows, and screamed. You berate yourself for giving in, but another part of you—one that’s louder than any other thought in your head—wants to do it again. Wants to hold his handsome face in your hands and have him kiss you breathless. That was nothing like you had ever felt before.

You groan. It’s another new day. You might as well make some progress with your portfolio.

There’s a Café you’ve been visiting more often than not. Ordering a drink and spending a good chunk of your day sketching the view. Instead, you find yourself staring at Aether, Paimon, and Lynette seated at one of the tables.

Lynette’s eyes flick up to yours as she sips tea. She murmurs something to the other two, and you watch with amusement as Aether and Paimon’s heads snap to face you.

You let your gaze wander, eventually landing on Lyney, who is reciting his order with his charming-act-on smile, who is present because of course he is. You want to turn and run away, but that’d be letting Lyney win, and you’re nothing if not stubborn and prideful.

“Y/N!” Paimon greets once you’re within earshot, kicking her feet happily. “Good morning! What are you doing here?”

“Breakfast,” you reply, waving at them. Aether pulls a chair from the other table and gestures for you to sit. “Did I interrupt something?”

“Nope!” Paimon swipes a fork from the table and digs in on the Ile Flottante, leaving nothing for Aether. “Lynette and Lyney told us about another show they’re holding to make up for the previous one.”

“Mouth full,” Aether reminds her, a little too late as the Ile Flottante spews from her mouth.

“Really now? Maybe I can pay properly for a ticket this time,” you laugh, nodding at Lynette. She smiles faintly, hiding it behind the rim of her cup. Lynette sure is the polar opposite of her twin brother.

A shadow looms from behind, the silhouette of a figure with an unmistakable top hat. You tilt your chin and see Lyney peering down at you with a sweet smile. You will yourself to keep your gaze focused on his eyes only and nowhere else below the nose.

Speak of the devil…

“Sweetheart,” Lyney says instead of exchanging pleasantries like a normal person.

“Lyney,” you reply in kind. Then you look away upon realizing that Aether, Paimon, and Lynette had been silently watching the exchange with muted, stunned expressions.

Lyney, holding a tray of drinks and food in both hands, scoots the chair next to yours with his ankle. “I wasn’t informed that Y/N would be joining us,” he says, setting the drinks and plates down like a waiter with a flourish. “You can drink mine. Let me order another.”

You hold onto his wrist as he makes his way back. He turns to you, surprised. “Let me at least pay for my own breakfast.”

Lyney grins, delicately withdrawing from your grip. He places a loud kiss on your hand. “Don’t worry about it.” And then leaves, because he can’t take no for an answer.

“Is it just me,” Paimon starts as you resign yourself to finishing Lyney’s drink (It’s your favorite, the one you always order), “or is Lyney acting weird around Y/N?”

Aether laughs. “There's definitely something going on. Don’t end up staying too long in Fontaine, now. What was it you told us? ‘A day or two’.”

You huff, your face turning unbearably warm. “Shut up, you two. I am here to do research, not to find a summer fling.” You’ve already failed, but they don’t need to know about that.

If you were to touch your lips with your fingers, you’d think of no one else but Lyney’s hands on your hips and his mouth swallowing your words.

Lynette clears her throat, a quiet but noticeable thing. “Don’t be fooled by my brother, Y/N.”

“Oh, don’t worry. I’m still keeping my safe distance.”

She shakes her head. “That’s not what I mean. Don’t be fooled by my brother.” She stares at you from the rim of her cup—something about that has you listening obediently. “No matter what he tells you, he always cares too much. No matter what you may think, he always gets hurt first.”

“That’s not…” You can’t imagine that. From the start, it’s always felt like he was the one who could do what he wanted.

No tricks.

Lynette is his twin, after all. She knows him best.

No strings.

Defeated, you sip on the straw with the same fervor of an aggravated hilichurl, and that’s the end of that.

Conversations during breakfast are much lighter when Lyney returns with a full meal as his treat. Celebration, he says. Celebration for what? Who knows? Lyney winked, but his glance directed to you said enough.

“You say that you don’t want to get attached, but you’re awfully close to the Traveler, of all people,” Lyney says offhandedly once the others have left for their own matters.

You lean against your seat, grinning. “Are you jealous?”

He doesn’t say anything, instead upturning his nose as if scrambling to regain control. You laugh, oddly endeared. Lyney turns his head away, trying to hide the smile that curls his lips upon hearing it.

“Hey,” Lyney says seriously, reaching for your hand. “Where have you been yesterday?”

“Why? Missed me?”

And because he’s Lyney, he takes his time kissing each of your knuckles. It’s more intimate than the whole ‘no strings’ arrangement you agreed on, but you suppose Lyney thinks that any physical attention is free reign. “What would you do if I said yes?”

“You’ll be fine,” you say slyly. “You’ll have to get used to it if you want to risk your heart just to get laid.”

He rolls his eyes, tugging you closer. “I’m not risking anything to get laid. Do you think so lowly of yourself, chérie?”

“Isn’t this all there is to it? Physical attraction,” you ask, genuinely confused.

Lyney blinks. “Of course, but—” His eyes flicker down, and his words trail off.

When you speak, you feel your breath bounce back from his skin—a testament to your proximity. “Lyney,” you whisper. For what? Urging him to continue? Urging him to close this distance? You’re not sure, either.

You have so much to ask. What do you mean? Why can’t you finish your sentence? Why don’t you just kiss me already? But it’s hard to speak; Lyney’s name is all you can think of.

You whisper his name again. His grip on your hands tightens and loosens, a frustrated frown creeping up his brows.

Your hand shoots out to reach for the back of his head and give in. He flinches for a second before relaxing completely.

His lips almost taste sweeter than his words. Almost as sweet as how he finds purchase on your waist and holds your chin during every kiss.

You pull away to breathe, missing how he leans closer to chase after you and pouting when he can’t. “Yeah. That—That didn’t have to mean anything. I just wanted to know what it felt like again.”

“Yeah.” Lyney licks his lips, his gaze unable to tear away from where yours are swollen. “Yeah, I know. You taste like my drink.”

Really, no one’s surprised you gravitate towards each other again, feeling like you’re soaring and melting into a puddle at the same time. Lyney doesn’t touch you where you both know would cross the line, but he grips near possessively to what he can, as if breathing you in and worshipping your skin.

You know after this, he’d go back on stage, fooling his audience with what’s invisible to the average eye, as if this never happened. You know this because this is your deal: satiate the feverish attraction you have with each other and leave once you’re satisfied. (But you also know that you’ll be thinking of his touch and his lips while you stare at the vase beside your bed.)

Lyney is a magician, first and foremost.

He hooks you in, and keeps all your attention to himself like he’d die without it. Then he disappears with a snap of a finger. He’s finished his trick, leaving you befuddled in your seat with more questions than answers.

As you drift off to sleep, all you can think of is that there are two roses now.

“Brother.”

Lyney looks up from where he’d been entertaining Rosseland, seeing Lynette with a stern face. “What? What happened?”

Her tail flicks. “You said you weren’t going to get attached.”

Lyney exhales softly, his eyes slipping shut. “I’m not.”

Lynette finds herself smiling softly. “I may just be your assistant, but you can’t lie to your own twin.”

He buries his face in his hands. With his sight gone, images of your face while whispering his name flash in his mind. His eyes fly open, mortified, his whole face red. “I don’t know how it happened. I didn’t think it’d be deeper than that.”

He was the magician in this, but it felt as if you were the one who tricked him instead.

It’s been two weeks since you first arrived in Fontaine. By this point, you’ve grown more familiar with its views than your own city. Having Aether, Paimon, Lynette, and even Freminet around doesn't make it any easier for you to feel at home.

And then there’s the Lyney Situation. You meet up most nights, more than that when he’s free from shows. He keeps seeking you out, and you keep letting him in. There was one night where Lyney spent the night instead of heading straight to the door—and those nights turned into two, then three, and then he finds any excuse to keep doing it.

It’s not like you could stop. He told you look for me if you want more, and you always want more, because how could you not? Lyney treats you like he’s never had to take care of anything more precious but still manages to render you breathless like you’ve never experienced thrill the way he gives it to you before.

But you still have to go back home. And Lyney still has his own life, has his secrets. He feels untouchable even when your arms are wrapped around his neck.

No strings attached can still work for summer flings, doesn’t it? And what are summer flings, if not just that?

Lyney hovers above with his hands caging your face. He’s grinning so wide—and you’ve seen all kinds of smiles on him with your time spent together, but it was never this genuine.

“You’re bad for me.” He says it like a confession, a prayer.

You raise an eyebrow. “What did I do to you?”

His hand trails down until he’s rubbing shapes on your hips. “Make me feel like I’m myself whenever I’m with you.”

At your silence, Lyney clears his throat. “But it’s not like that, don’t worry. I just mean—”

And how does that even make sense? He pours his heart, then later reveals it’s nothing but a decoy to keep this facade realistic.

“Oh,” you say.

That was the final act you’d been waiting for. The final trick—the farewell show.

And so you pack your bags—shoved your sketchbook back inside, face forward, and promise not to look back. Leaving Sumeru hasn’t even been this hard.

Aether and Paimon shouldn’t be surprised if they find you missing; they’d been the first to know that your stay in Fontaine isn’t meant to last forever. And you’ve warned Lyney about this. Avoiding attachments? It felt more like running away from your problem.

Lyney is a busy man on his own; you’re nothing but some architect from a different region who happened to get caught up with him at the right time.

You sigh and call for the aquabus.

A hand clasps around your wrist, pulling you to collide against a familiar chest. Lyney’s eyes are wide, almost insane. Sweat clings to his forehead, and his breath comes in frantic pants.

“W-What—”

Lyney’s eyes search your face. Or maybe it’s him trying to convince himself that you’re right there, in front of him. “You didn’t even tell me.”

“I—I’m sorry—”

“Were you just going to leave like that? Don’t you think I at least deserve a farewell?”

“Lyney, I’m sorry. I know, that was stupid.” You haven’t seen him with an expression like this before—so raw and broken, begging to be glued together with your hands. “I didn’t want to formally say goodbye because I knew I'd want to stay.”

“That’s stupid,” he repeats in agreement.

You breathe shakily, eyes scanning the stunned crowd. What’s The Great Magician Lyney doing here? Holding some stranger in his arms? That must be what they’re thinking.

“How did you even know I was leaving?”

Lyney’s eyes cut down to his hand, gripping a crushed rose. “I was paying a visit to an empty room.” Embarrassed, he tries to toss it away, but you take it before he can.

You wordlessly place it in its home: the spot behind your ears. You don’t tell him that the two other roses he gave you serve as bookmarks in the sketchbook you’ve used all up in Fontaine. Where you’ve drawn his face more often than not.

Lyney groans in frustration, his hands curling around your waist. “Is staying so bad?”

“It’s not like I’m leaving forever.”

And then you notice Lyney’s hands. They’re shaking uncontrollably, not unlike how it did during that incident—and with it came the frantic exhales, as if natural human breathing alone is already hard enough for him.

“Oh, Lyney,” you say softly. You drop your bags and embrace him fully.

He doesn’t hesitate in pulling you closer, burying his face on your neck. “Don’t—don’t,” he gasps, “don’t just try to leave like that.”

It’s hard seeing Lyney like this. He’s usually so composed and easy-going. He gulps in a deep breath, and his voice cracks as he calls for you. This must be something out of his control—something deeper than the back of his stage.

“Y/N,” he whispers.

“Lyney,” you call back as gently.

He swallows your surprised noise with his mouth, moving against you like you’re his last meal on Teyvat. He’s still shaking, but it has subsided the longer you stay pressed against each other. You’re not sure if it’s his Pyro vision or if it’s your skin burning at the thought of Lyney’s skin against yours. It’s searing.

This is different from the last kisses you shared.

Passion, you think dizzily, breathless from his hunger. This is passion.

“What was that for?” you ask, embarrassingly winded.

Lyney brushes his thumb over your bottom lip. He looks sad. As though he only comes alive when you’re with him. “A kiss to make up for your absence in the following weeks.”

“I can always come back,” you say. “No, I will come back. I promise. I just need to get home for a bit.”

“Okay.” Lyney nods, exhaling heavily. “Yeah. I know, I understand. Once you come back, come straight to me, alright?”

“Of course.” You lean in to kiss his cheek. You’ve never done it before because it always came off too intimate. And judging by the blush that explodes on his face, he thinks the same.

It all doesn’t matter. The line has been crossed days ago; you’ve just been turning away from seeing it.

He kisses you again. Then again. “Have a safe trip,” he says in between kisses. “I almost wish you commissioned me to escort you, regardless of the price.”

“What, you want 500,00?” The aquabus has arrived; Lyney grips you a little tighter, childishly willing himself not to see it.

“500,000 kisses, and more.” Lyney rests his forehead against yours, his captivating eyes keeping you still, the way it always does. “But you can give me that when you come back.”

( Before they were taken away from the stage for an investigation, Lynette comes up to her brother and asks, “What happened back there, Lyney? I thought you were about to twist your own fingers.”

He is unsure how to tell his sister that he saw your awed expression and nearly lost his wits.

“It was nothing,” Lyney admits, his face growing hot at recalling his slip-up.

It wasn’t out of embarrassment, no—not when the memory of your wide-eyed beaming expression and how his mind blanked along with the skip of his heart plagued his mind.

“It was nothing,” he repeats numbly. It’s not. It was the start of something. )

a/n ok just a quick rant this fic BROKE ME. it was like every other day i hated then loved writing this fic. im not used to writing fics this long so pacing is not my forte </3 but i just feel proud of myself for finishing this so HOPE U LIKED IT. if ure still reading until here ily ❤️

more a/n two lyney fics and two kissing scenes. i can’t even lie to myself. everyone can tell.

more more a/n it was halfway through writing this fic that i rewatched the magic show and only noticed lyneys hands were shaking and i GOT SO SAD OMF 😭😭😭😭

#genshin x reader #genshin impact x reader #genshin impact x you #lyney x reader #lyney x you #lyney x y/n #lyney fanfiction

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rafesfavgirl · 7 months ago

Text

two graves, one gun — r. cameron

sad rafe fic bc i just got my period and i'm feeling extra emotional :')

series: every few lifetimes

❝ so long, london stitches undone two graves, one gun you'll find someone ❞

pairing: bf!rafe x fem!reader

context: after another night of getting coked out and passing out on barry's couch, rafe realizes you deserve better than him and decides to let you go.

words: 1.3k+

warnings: drug addiction, break-up, might make you cry, ANGSTY asl

the sole of your heel taps anxiously against your living room's hardwood floor, as you stared at the time on your phone's lock screen, which lit up with a photo that wheezie took of you and rafe sitting at one of the tables at midsummers last year, looking at each other as if you were the only people there.

8:30 p.m.

your heart aches at the realization that he had forgotten your date again, but the nerves that settle in your stomach win over, as you think about where he probably is.

pushing your weight off the sofa, you grab your car keys from the hooks on the wall, and dial rafe on your way out the door.

straight to voicemail. fuck.

you skip down the steps in front of your house and unlock your car in the driveway to get in, immediately starting the engine to get on your way.

you dial rafe again as you pull into the road—to no avail.

"damn it, rafe," you mutter, eyes switching between the road and your phone as you type him a message.

you: where are you???

when the message doesn't even go through, you let out a frustrated groan. either his phone's dead or it's switched off. you step on the gas to speed up, zigzagging between cars to get there faster.

you pull to an abrupt stop in front of a beat-down house on the south side, and switch the car off before hopping out.

"mrs. country club, what brings you to this side of the island?" barry stands from the porch when he sees you walking towards him, fuming.

"oh spare me the fake hospitality, barry," you tell him. "where is he?"

"where's who?" he shrugs—but you knew he knew what you were talking about.

"don't play dumb with me," you spat, attempting to walk past him. "i know he's here."

he steps to the side to block you from going any further. "maybe so, but it ain't a pretty sight."

"ugh," you manage to walk past him and proceed into the house, with him on your tail. "rafe!"

barry catches up to you and blocks your way again. "hey, i told you-"

"barry, you're really testing my patience here, alright?" you say, refusing to back down. you weren't scared of him—okay, maybe a little, but you weren't about to let him see that. "rafe!"

you push past barry again, and make your way further inside, immediately rushing to rafe, who was passed out face-down on barry's couch.

"oh my god, rafe!" you crouch down beside him, not missing the un-sniffed lines of coke on the wooden table in front of him, and pick up his head in your hands. "baby, baby," you gently pat his face with your hand. "can you hear me?"

"told you it wasn't a pretty sight," barry leans against a wooden post and watches you, making you roll your eyes.

"rafe," you try to wake him up again. "babe."

thankfully, his eyes flutter open, relief washing over you as you let out a sigh. "oh thank god."

"y/n?" his voice is barely above a whisper when his eyes lock with yours. "shit!"

you move aside when he suddenly sits up, searching the couch cushions for his phone. "what time is it?"

"rafe-"

"no, fuck!" he shouts when he realizes his phone is dead, and looks up at barry. "i told you to wake me up if i knocked out!"

"i'm not your keeper, cameron," barry shrugs. "just take your shit and go, a'ight?"

"baby…" rafe turns to you kneeling on the ground beside him, his voice much softer now. "i swear i set an alarm— i was just— i didn't think my phone would die and-"

"hey," you place your hand on top of his, squeezing it lightly to make him look at you. "don't worry about it. let's just get out of here, okay?"

he nods, and you stand up, dusting yourself off as you do.

"i'll meet you in the car, doll," he tells you. "i just gotta take care of something."

—

the car ride back to your house is almost completely silent, until rafe breaks it.

"you look beautiful, by the way," he says, eyes shifting to you.

you glance at him, a small smile on your lips. "thank you."

"god, i'm such an idiot!" he groans, clearly frustrated with himself over the situation. "how many missed dates is that this month?"

"rafe, i told you not to worry about it," you tell him. "it's okay, i get-"

"y/n," his voice is stern now, his eyes burning holes into your skin. "how many?"

you sigh, turning the wheel towards the curb to park the car in front of your house. "four," you answer, switching the ignition off. "that was the fourth one this month."

rafe scoffs and shakes his head, eyes averting away from you. he just couldn't look at you anymore, because he knew that even if you didn't show it, you were disappointed. not only at him, but maybe even yourself for putting up with him.

"hey," you place a hand on his knee, and he glances down at the gesture, before finally looking at you. "it's okay."

"how is it okay?" he asks, eyebrows furrowing. "all i do is disappoint you."

"baby, that's not true," you try to reassure him, but he doesn't buy it.

"it is true," he tells you. "and you don't deserve it."

not knowing what to say, you just glance down at your hand on his knee. "rafe…"

"no," he cuts you off, and places his hand above yours to slowly push it off of him. "i can't keep doing this to you."

letting out a sigh, you adjust yourself in your seat so you're looking at him. "okay, rafe, before you saying anything else— i love you, alright? there's nothing you can do that-"

"and that's exactly the problem, a'ight?" he snaps. "you're never gonna walk away from me yourself! even when i bought this shit from barry after i told you to wait in the car." he reaches into his pocket and tosses the small bag of blow in between the two of you. your eyes shift from it to him, the uneasiness in your stomach only getting worse.

"i have a problem y/n," he tells you. "and it's not the kind you can just 'fix' with love."

"then we'll get you help. we'll do any-" you try to reach out to him, but he resists.

"no," he says, motioning a hand between you two. "this has to end."

the words you dreaded hearing comes out of his mouth in one fell swoop, your heart shattering into a million pieces.

"what?"

"i'm never gonna be the guy you need me to be," he shakes his head at you, and if it weren't so dark outside, you swear you'd see his eyes watering. "and since you can't let go, i have to do it for you."

tears brim along your lower lashes as you speak, "no. that is not your choice to make."

"god, y/n, can you stop making this harder than it already is?" he pleads.

"can you stop acting like it's so easy?" you retort.

"you think this is easy?" he asks, taken aback by your accusation. "it kills me to do this."

"then don't," you say, voice cracking as you reach out for his hands. "we can work through your addiction together, rafe. we'll-"

"that's not your responsibility," he shakes his head at you. "if i'm gonna get better, i need to do it on my own."

you sob, "i— i don't want this to be the end.”

rafe glances down at your hands, before bringing his hand up to cup your cheek.

you lean into his touch, and a single tear rolls down your cheek—one that he wipes away with his thumb.

"i love you so much," he says, eyes closing as his head tilted down against yours. "i'm sorry."

his lips place a soft kiss on your forehead, and just like that, he's gone.

part 2.

reblogs and comments are deeply appreciated <33

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#rafe cameron #rafe #rafe obx #obx #rafe cameron x reader #rafe cameron x y/n #rafe x reader #rafe x y/n #outer banks #rafe outer banks #rafe fic #sad rafe #rafe angst #rafe cameron fic #obx fic

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krypticcafe · 1 year ago

Note

Can please get fic where young reader almost gets r-word.. like! What happened to ellie on 'the last of us' like make it into that situation, reader kills the rapist and flees away and runs into the 141 team, and their like in this state of like panic, but they calm them down and they explain what happened they are beyond livid so they just reck hell on the people who was with the man who tried to r-word reader.

(this a platonic relationship between reader and the team)

Me and the Devil

rating: mature

pairing(s): platonic 141 x gn!reader

warning(s): no use of y/n, dead dove do not eat, non-explicit attempted r*pe, emotional and physical trauma, sexual physical and mental violence, canon-typical graphic violence, comfort

wordcount: ~3.8k

a/n: i'm not exactly sure what anon meant by young, but for context, reader is probably 20-22, I'm just not comfortable writing this kinda stuff for teen or child reader, I hope you don't mind. also, huge, HUGE emphasis on the warnings. though nothing is explicit and there are no sexual graphic terms, the descriptions and actions alone are still very disturbing and uncomfortable! and the violence is a little uncomfy for those not used to it, too. title is from 'Me and the Devil' - Soap&Skin

synopsis: You can see it. The devil. It laughs, and laughs, and laughs, mocks you for your childish stupidity and naivete. To think the angels would come marching in, that you'd make it out with any semblance of sanity. You can't fight it, you can't even hide from it. All you can do is lie in your grave.

Just hours ago, you were alongside the 141, cleaning up and wiping out an enemy base, a typical Tuesday on a summer afternoon. You should've known things would go downhill with how smoothly it was all going. Even Price commented on it with an air of wariness and suspicion. After all, it was a saying that if the fight starts getting too easy, then it's an ambush. And an ambush it was. You want to tell yourself that it was nothing, easy as pie compared to what you've been through. You wanted to say that it was a success and you turned the tables on your enemies. You wanted to say that it ended within a matter of minutes and that you were on your way back to base with your boys, ready for a night of banter at the pub. You'd join Ghost in watching Soap and Gaz try their hand at poker, taking a shot each time Soap's dogshit luck lost him another couple of euros while Price would pry Roach from having another cocktail and piss himself ('it was one time!' he slurs).

But instead, you're here. Locked in a room, bag over your head, tied to a chair, a stereotypical hostage situation but that didn't make it any less tolerable. Though having a potato sack over your head was nowhere near as embarrassing as the reason why you were captured. You tried your best to hold onto the jeep, honestly, you did. Until some ankle-biter decided to latch onto you and sink his teeth into your flesh, causing your grip to loosen and send you tumbling into the dirt. Your bodies slammed into the ground, kicking up dust and your opponent taking most of the fall damage for you. How thoughtful.

Seething at the audacity he had to chomp on your leg like some feral mutt, you gave him a piece of your mind and made sure he'd never bite another ankle again. His friends caught up the moment you were done. They dragged you back down to the coarse dirt and sand of the earth, making you taste and choke on dust. You looked at the lifeless figure in the sand, briefly wondering if you'd be wishing you were him before a bag was slipped over your head and tied like a collar. It didn't help that the sand on the roof of your mouth combined with your ineffective attempts to ration your breathing made for a burn worse than any hard liquor down your throat. Thrashing and shouting like a madman, you cursed them like some teenager who discovered swearing as they tossed you into the back of a truck, rolling you forth with the heels of their boots. Not your finest moment.

Once you were loaded and the rest of them climbed on, the truck shot forward without slowing down for a second, taking you to your own personal hell for the next few days. Knowing the 141, they were probably at the safehouse, planning their next move to retrieve you. In the time between interrogations and routine attempts to break you, you could imagine Soap and Roach pacing around the room, Ghost brandishing a knife with a dark look in his eyes, and Price looming over a map and pulling up contacts with Gaz at his side. While you hated to burden them with your own mistakes, thinking about them all gnawing their teeth in comical anger at your expense brought you momentary comfort, eliciting a small chuckle.

"Something funny?" Much to your ire, all your thoughts were interrupted by the sound of several people shuffling into the room. You could only expect so much privacy in a place like this. The man who spoke up seemed to carry himself like a leader, considering how he spoke above all others and you could hear him carrying out demands every now and then, checking up on you as if he actually gave a shit. And currently, he was on the top of your "to kill" list, along with every other cunt in this prison.

"What'll it be today, more screaming or more silence? You know, you can only stay quiet for so long." He sighed. Judging by the sound of metal screeching on concrete, he pulled up a front-row seat. With a single yank, you were again temporarily freed of the confines of the bag on your face, glaring at the man with a look of ferocity that seemed as if it were etched on your face permanently. His clothes were disturbingly clean-cut and polished despite the blood he spilled for the past few days. Your blood he spilled. "Come now... you know you'll only make things more difficult. Face it, kid, they're not coming, it's been days."

When you felt gloved fingers touch your jaw you snapped, pulling away like an animal restrained by a leash. Your captor let out a taunting "Oooh", and your skin crawled at how he heckled and laughed like some adolescent boy poking a rabid animal with a stick through its cage. "So it bites."

"Fuck you." You rasped.

"And it talks." The humiliation of their nonchalant attitudes made you seethe, you knew it was a tactic to get under your skin and you just wouldn't have it, turning your head away from the men.

"Uh-uh, eyes on me. How is such a fresh thing like you out fighting wars with men like them?" He hummed, gripping your jaw with a strength that took you by surprise and had you wincing. Even though his hands were gloved, it felt as if he were trying to dig into your skin. With no other choice, you were forced to look into his eyes, the pyres of unimaginable anger burning in yours.

However, it was then that you felt it. Something was off. Something was horribly off about him. The several times he'd come in here to either coax you with gentle words or have his men beat you within an inch of your life, he either had some faux kindness or gleeful malice painted across his face. But this time, his eyes were alight with slimy delight. You hated it, Hated how it made you feel small, cornered, pulling on your leash so that you couldn't be yanked from the one place that made you feel safe. You hated how it didn't feel like he was trying to get under your skin, or sink into your bones but instead your mind as if to violate it. You hated how it seemed like he had something more in mind, something that you couldn't predict like a kick to the ribs or a carefully worded reassurance that you'd be in "good hands". It was the one thing you felt like you had control over, knowing what was next, and now you didn't.

With a wave of his hand, his men all filed out of the room, leaving just him and you alone. One came back with a bowl in their hands and you felt yourself doubt your worries. Were you already beginning to lose it in here? "Hungry?" He smiled, taking the bowl and dismissing the soldier. It looked and smelled like a stew, potatoes, and beef, not scraps of stale bread or lukewarm, half-empty beer cans.

"I asked them to make something special today for you, isn't that nice? I suppose even someone like you has a taste for the finer things in life and wouldn't say yes to leftovers." No answer came but it was to be expected as he mixed the stew with a spoon. Your eyes were trained on his face instead, expecting some kind of strings attached. He entertained that expectation by—to your disgust—spitting into the stew, mixing it more, and bringing up a spoonful to your face. "Consider that the cost of being so picky. Open wide, soldier. Surely you won't make a fuss again, now will you?"

There was a pause, you leaned forward, lips ghosting the tip of the spoon before you roughly shoved his chair away from you with your boot. The bowl fell from his hands onto the ground, pooling between the two of you. He could go to hell with his stupid fucking soup.

He let out a scowl of disapproval, his self-satisfied smirk replaced with disgust and irritation like a parent to their troublemaking child. Fine with you, you didn't need that asshole's approval. He stood, grabbing a handkerchief from his breast pocket and wiping his hands and the small splatters on his uniform. "Should've known better that the government's pets would act like such animals. I gave you a chance, I tried to make this easy for you." He snarled, tossing his handkerchief aside and grabbing you by the collar, "But no, you just had to be a fucking brat, huh? Fine, be one. I can work with that. Either way, you'll be put in your place soon enough."

Before you could comprehend what he was implying, he slashed the ropes that binded you to your chair with a combat knife and shoved you to the floor, your head throbbing as it hit concrete, along with the rest of your aching muscles. Vision blurred, you sat up and tried to make out what he was doing, falling back when he roughly grabbed your hair and shoved your head back down into the ground. Like an alarm, every single flight or fight response went off in your body and yet you couldn't figure out what he was trying, you just knew that this was something worse and that you were a fool to let your guard down for a single second.

A twisted smile broke across his lips, "You know, you have a very lovely voice. You sing the loveliest songs."

Your brows furrowed, confusion flashing across your face until you let out a yelp of pain when he pressed into your stomach, already bruised from previous matters. He let out a sigh that made you shudder and you felt bile creep up your throat, moving your face to the side in fear that you'd choke on it.

"Eyes. On. Me." He snapped, his voice sounding so much louder than it actually was, his hand twisting your jaw back to look up at him while his fingers proceeded to dig themselves into whatever spots got you hissing and squirming away. That's all it took for your resolve to break, the blaze in your eyes fizzling out and replace with genuine fear and utter shock as you watched him straddle you and stare with a piercing gaze that trapped you. It forced your attention to stay on him, daring you to look anywhere else but him when that was all you could focus on. Him.

You couldn't even scream, paralyzed when you heard the sound of metal clinking against metal and the brushing of fabric, raw horror setting itself alight in your bones at how he loomed over you. At that moment, you swore you could see the devil itself laughing, cackling, mocking you in his eyes.

It was like you were seven again.

Scared, cornered in your room because you swore, you swore and sobbed and cried that you saw it, a monster in your closet. A dark, shadowy figure that'd taunt you merely with its existence and prayed on your downfall, drinking the fat tears you spilled and listening to your high-pitched cries as if they were music, eyes that you couldn't see but they could see you.

Others tried to convince you that it wasn't real, opened the doors, and closed them again, showing that there was nothing but cleanly folded clothes and hung-up jackets lined neatly along a rack. Every time, you'd feel a little more silly about your fears but anxious that they'd come back for more.

At some point, you nearly forgot about the monster altogether. It ceased to exist in your closet, but never your mind.

"Damn it, what now?!"

Pulled back into the present, you heard muffled speech with loud, obtrusive noises and more screaming and cursing from the man above you. He was faced with the still-closed door, talking to a soldier behind it. Instead of trying to catch up with what happened, your mind raced to its defensive instincts. Finding the spoon dropped from earlier, you reached for it with a strained grunt which caught his attention. Yet with a swift grab and thrust of your hand, you jammed the blunt handle of the spoon into his throat and screamed at him, your vocal cords ripping in deliriously satisfying pain.

Barely giving him a second to let out a final gasp for air, you flipped him over underneath you and yanked the spoon out, blood erupting out of the gash. Fire ignited in your veins and you balled your fists, giving him a taste of the rage of a caged beast with nothing left to lose, just the desperation to survive for more. It was a symphony of grotesque crunches of bone and ligament, and you yelled, screamed, and cursed with each impact at him, at the entire organization, at a godless world for making you live through hell. A pitiful yet gruesomely satisfying attempt to reclaim what sanity and control you lost in that room.

Blood and flesh coated your fingers like warm syrup, and you were sure your knuckles were split. Crimson red was a good look on a sterile uniform, you thought to yourself. The sight of your work made you realize it wasn't the devil in his eyes was laughing at you, but rather its reflection from over your shoulder, still gleefully singing and squealing with delight as it watched you indulge in pure, unadulterated wrath. Its tail wrapped around your neck, strangling you with delirium and bloodthirst, guiding you in your ear as you beat an already dead man to a pulp.

Taking a stand, its whispers remained in your ear, praising you and yet you felt sick looking at what was left of what you had done, of what was left of the man's face. His blood pooled around his shoulders, mixing with the stew into an unholy concoction, evidence that was a testimony to your suffering and to your sin. Using his combat knife, you cut through the ropes around your wrists, skin scratched raw and bleeding. Without a second glance, you took his gun and left the room.

To this day, you tell yourself that you crawled out of hell that day.

"Any signs of the hostage?" Gaz shouted over comms, holding off a room of enemies alongside Price.

The moment they had all seen your fingers slip from the jeep and saw you tumble away that afternoon was the moment they knew they wouldn't be coming back to base for a long time. Roach had watched in despair as he was so damn close to grabbing your hand, swearing that had he'd been a little quicker, you wouldn't be here. Soap had yelled for Price to go back but Gaz and Ghost both knew his hand wasn't going to turn that wheel anytime soon. All of them knew. They couldn't turn back, and you wouldn't have wanted them to either, not unless the entire team and mission were to be jeopardized. However, that didn't stop them from doing whatever it takes to get you back safe again.

"Negative." Ghost answered over the line, standing with Soap in a hallway painted with the blood of the opposition, bodies scattered like lifeless bags of flesh with no greater purpose than to rot.

"I have eyes on them, they escaped from captivity. Currently pursuing them!" Roach responded. He'd seen your figure run down a hall at an alarming speed, and when he followed you, he had a glimpse of the room and the spectacle you left behind, "The leader is terminated, too. Jesus, can someone get over here?! They're gunning it for the west exit and I can barely keep up!"

You were in fact, bolting for the exits, panicking the more you got lost and running so fast that you probably could've broken a record on base. Distant gunfire and blasts snapped at your heels like a pack of dogs, reminding you that if you didn't keep running, you'd be dead, you'd be torn apart and beaten just like their leader and fed to the wolves. Boots trampled the ground behind you like drums of death, the yelling of men ringing in your ears, a requiem to the inevitable. Run, just run, it's all you could do in this frenzied state. If you didn't you'd be helpless, you'd be put down like a rabid fucking animal. Run, even if your bones shook from the pain, even if flames licked at your torn muscles, even if it meant dying of exhaustion because anything was better than dying at the hands of those animals.

At last, you found the light of an exit, finally an escape from this asylum. Your heart felt lighter when sunlight kissed your skin only to be weighed down by getting slammed into, grabbed into a relentless hold. You screeched, shrieked, snapped, and sneered while the voices seemed relieved, almost happy at your capture.

"Don't fucking touch me-!" You screamed with animosity, practically frothing at the mouth, "Don't fucking touch me I'll fucking kill you! I'll fucking—"

"Friendly, friendly!"

Still growling under your breath, confusion flickered over your eyes. Why did it sound like... like...

"Captain?"

"You're safe kid," Price panted, as if he'd been running to chase you. He was chasing you. In all your hysteria, you hadn't realized that the group had been running after you for past minute or so, trying to call for you, get you to slow down. The only thing that worked was to just grab to and hopefully knock some sense into you or knock you out. "It's just us, see?"

Your gaze softened, taking in the features of the man before you. Despite the crossfire and fighting, somehow he still had such a kind look on him, puppy eyes that pitied you and kept you grounded. Turning your head, you saw the rest of the men watching you in concern, all tired but overjoyed nonetheless that you were finally back.

You were safe.

It was like a weight finally lifted off your chest, a pile of restrained misery and relief washing over you, and you wept without a thought to pride. Price whispered your name in a way that felt so comfortingly familiar, tucking your head into his shoulder and letting you muffle your sobs into his uniform. It was painful to hear your wails, the relief and the instability shaking off of you in waves. A part of you expected to be scolded, to be teased for messing up so badly with a simple mistake as letting go of the jeep but they didn't.

"You're in good hands,"

"We've got them covered,"

"They can't hurt you anymore, love."

"Do you have any major injuries?" Gaz asked, but you couldn't say a thing, clinging onto Price's jacket and crying like you were four years old and found by your parents after getting lost. Slowly and gently, Price pulled you from him to examine you, and that's when he saw it. It didn't take long for the others to notice as well. Your clothes were torn and belt undone. While no physical harm was visible, knowing what happened was enough to make Price tick.

"Roach, get them to the car and give them some spares ASAP. Everyone else with me, we're cleaning out the place." Everyone else had the same dark look in their eyes, one that sent shivers down your spine but encouraged you once more you were secure now. While Roach escorted you away, you peeked back to see them disappear back into the building. After you changed in the car, you could hear the distant gunfire and screams, shutting your eyes closed tight, making an effort to drown out the thoughts.

"You okay?" Roach frowned. he had apologized to you a dozen times over on your way to the car and explained all that happened after you were taken, which you appreciated him for and insisted it wasn't his fault. But he was sweet and stubborn, bandaging your wounds and telling you he'd make it up by giving you his dessert for the next month, a gesture that made you smile for once in a while.

"Yeah, yeah just... hope they're safe." You breathed, sinking into your seat with the rest of your thoughts. Though you cried once more, quietly this time and on Roach's shoulder. He was cautious not to initiate too much physical contact, holding your hand only when you asked for it.

The building was silent, not a single soul left to be reaped by the 141. They all regrouped around a body that was beaten beyond belief, to the point where the face was unrecognizable. Regardless, they knew who it was.

Gaz broke the silence, "You think they did this?" They all looked at each other, not wanting to imagine what happened to lead to this point.

Ghost nodded, a confirmation of something they already knew but wanted to mutually agree on. "No one else could've made this much of a bloody mess. HQ's going to have a field day with this. Can't say that he didn't have it coming for him, though."

"And well deserved, too." Soap spat. Price continued to look down on the figure on the floor without any thought to it. Not anger, disappointment, or spite, just disregard. Headquarters would be interested to hear what happened, but he could care less about the report. All that mattered was that loose ends were tied.

Minutes later, the men all piled up in the car again, setting for the road back. You woke from your half-asleep state, rubbing your eyes. You were met with a soft smile from Soap, who ruffled your hair. "You alright there, sleepin' beauty?"

Humming in acknowledgment, you nodded and glanced out the window to see the road whizzing by, the building growing smaller and smaller in the distance. Some dingy warehouse. So that was the hellhole you were stuck in for a near week.

"Dinnae think 'bout it too much," He followed your gaze and nudged your boot with his, "When we said they can't hurt ye anymore, we meant it."

"Yeah," You quietly mumbled, leaning back on Roach, who had fallen asleep and leaned on Gaz for support. "Can smell it on you guys."

That got a rumbling laugh out of Soap and even a little headshake from Ghost who sat in the passenger seat. Looking at the rearview mirror, Price was looking right back at you, eyes flickering to the road occasionally, "Get some rest. It'll be a long ride home."

You nodded like a little kid with a mumbled "yessir" and drifted off once more. For the first time in forever, you feel like you can breathe and ground yourself, no punishment, no torture, nothing to haunt in this rare bit of calm. You didn't feel the pain of your sore muscles, you didn't feel that your body was filthy, you didn't feel small and scared, not anymore. Just surrounded by nothing but a familiar feeling of safety and lulled to sleep by the sound of the engine that took you home.

a/n pt.2: had a tough time writing this one but hey, I think I managed! to be honest, though, I'm not super confident about the ending and proofread this while half-asleep, but I'd love to hear some thoughts about it. shoutout to the people who noticed any reoccurring themes.

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frost-queen · 1 month ago

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Witches road // part 3 (Fem!Reader x Agatha Harkness)

Forever tag:@missmelodramatic,@alex--awesome--22, @ellie-does-the-posts, @floatlosers, @merlieve , @queen-of-books , @glimmering-darling-dolly , @denkisclown , @wildieflower , @meyocoko , @justanothercoco, @subjecta13-thefangirl , @m-rae23 , @harleyquinnswifeyfrfr , @swampything07, @melsunshine , @panhoeofmanyfandoms , @venomsvl , @the-uncoordinated-house-cat , @rosecentury , @imagines-by-her, @evilcr0ne , @vviolynn , @niktwazny303 , @avada-kedavra-bitch-187 , @erikasurfer, @slythetic , @p0nycurtis , @quailbagutte , @fantasticcroissantpandagarden, @lanfear-is-my-darkmistress , @thefutureisus2020 , @r-3-becca , @fantasticcroissantpandagarden

Summary: the second trial awakens this time a generations curse. Despite the past, Agatha and you keep being drawn to each other. Not sure how much longer thy hearts can keep shutting each other out. [Witches road series]

If one be gone, we carry on, spirit as our guidе.

With an twisted feeling in your stomach, you all hovered above Sharon’s dead body. She for sure was dead. – “Well RIP Mrs. Hart. Shall we go now.” – Agatha said cold hearted. It made Jen look shockingly at her. – “Have a bit of decency.” – she exclaimed. – “A woman’s dead.” – she finished. – “Yes and Teen and Alice are digging her a nice grave. Hoorah to her.” – Agatha replied.

“Agatha!” – Lilia shouted making her groan loud. Agatha’s gaze went towards you for back-up except you gave her none. Simply shaking your head as it was wrong of her to mock a dead one. Agatha sighed deep taking a moment of silence, before being cheerful again. Sharon was properly buried.

Teen locked his arm through yours, leading you away from her grave. Having seen a distance stare in your eyes. Reflected with memories of pain. You followed him obeying, letting someone else take care of you. – “Are you alright Y/n?” – he asked a bit concerned.

You looked down at him with a smile. – “All better now.” – you answered, letting your hand rub up and down his arm. Still locked in arms, you followed the others down the leavy road. Wondering where the road would take you next. Knowing another trial was at hand. It wasn’t a question of what but a question of when.

As if summoned a house stood leading to the end of the road. A breeze of wind caught a few crumbled leaves along the way, sending it flooding over your feet. Looking up, you sensed there was something in the wind. Alice had frozen, staring at the house. – “I’m not doing this!” – she called out, going back.

Agatha rolled with her eyes, going after her. Taking a step forward, your arm slipped out of his. Blinking rapidly, you saw everyone go after Agatha, not wanting to be split up. Teen tugged on your sleeve as you went along.

“Alice stop!” – Agatha shouted. Alice stopped, not out of Agatha’s calling but off the horror she saw before her once more. The house cutting the end of the road. – “Well…” – Agatha said with clasped hands. – “You can run away from it, but the road will always make it work somehow.” – she finished with a wicked smile. It made Alice give her a glance of annoyance.

“The only way is forwards.” – you said stepping to the front to take the lead. Teen right behind you, followed by Lilia and Jen. Agatha closed the line with Alice. The next trial. Fire. As you entered, you felt a soft strangeness over you. One you had felt before at the first house. Looking down at yourself, you saw the change of wardrobe again. Your gaze fell on Agatha as she seemed to have had the same thought.

She curled up a smile upon your appearance, clearly liking what she saw. It made you give her a soft glare before turning away. As the first house, there needed to be a clue. Something that would set up the trial. Alarm it of it’s awakening. Your familiar strayed after you, never going far.

Your familiar hopped onto the music board as you had entered the producer’s room. Letting your finger glide over the buttons, you heard the door behind you. Glancing over your shoulder, you saw Agatha had entered. She came leaning against the panel, blocking your path. Her gaze low on you as her gaze slowly trailed up. Focused on your chest, neck, lips then eyes. Something she had buried deep down enough bubbling up.

“What?” – you called out seeing her tilt her head. – “You clearly resent me for something.” – she said, tapping her finger against her throat. Hinting the hurt you had inflicted on her not so long ago. It made you scoff mockingly, turning your head away. Agatha observed your body language for a hint. – “You deceived me.” – slowly coming closer to her. – “You could’ve chosen a different path.” – you made clear poking her in the chest.

“You made me realise one thing Agatha.” – you told her, seeing her quirk her eyebrow up curiously. – “It was all a lie.” – you whispered out, pushing her a bit back. In her eyes reflected confusion and heartbreak. The feeling of guilt if truly she was the cause of your demise. One she still wasn’t sure how occurred. Having been told you were gone. Having taking the road to never return. To leave Salem behind. To leave her behind. Having taken a different path away from her.

Agatha leaned closer to you, cupping your cheeks. It made you draw closer to her as well. Gaze switching between her eyes and lips. The desire clear as a crystal ball within the both of you. Agatha’s lips were near yours, already feeling her breath on yours. – “I haven’t forgiven you.” – you said making her snap out of it. Agatha let go of you as the moment was over. Deep down, you wanted to beg her to hold you once more. To kiss you once more as she has done so many decades ago. Please, please. Another part of you still hadn’t forgiven her. For your faith all started with her.

The playing of a record broke through the enchantment of her past. Cutting through her misery memories. The two of you rushed into the main room where everyone was. – “Turn it off!” – Jen shouted covering her ears up. – “It told me to play it.” – teen said, holding a paper up. You knelt down, covering up your familiar’s ear instead of your own.

Letting it drive your ears insane with pain just to protect your familiar. Agatha was looking your way. With a battle cry, she ran towards the record player, smashing it on the ground. The music or rather backwards chanting disrupted to silence. Lilia, Jen and you looked at each other, briefly checking up with each other. They were all good. The ticking of a metronome made you jump out of your skin. The trial has begun.

What dark ending would it conjure in thy final moments. Lilia’s scream went through bone and marrow. Eyes widening as you saw the smoke lift from her body. As if her soul was being sucked out, lighting the body with it’s weight. Alice jumped in immediate action. Speaking out a charm whilst drawing a circle around her. Lilia suffering from the fires of hell. Having knocked on the gates of hell to release it’s inner fire. Once the circle was sealed it lifted her spirit.

No more screams and no more burning. A moment later Jen screamed, demanding Alice to protect her. Agatha had her eyes on Alice. Knowing what it was. Confronting her about the family curse. A curse send down through generations. Attention drawn away to the floor, feeling the room tilt with an eerie feeling. You sensed it before it even made an effort.

Teen was in the way as you elbowed him away to take his stand. Teen dropped to the ground with a thud. A gush of wind hitting you right in the chest. Picking you up and sending you, breaking through glass. Glass shattering into sharp pieces. – “Y/n!” – Jen, Lilia and Alice shouted loud in a panic. All Agatha could do was stare with shock at the broken glass. Only when the others got in motion, ran she faster to get there before them.

She quickly knelt down beside you, brushing some glass from off your body. – “Y/n?” – she said with worry in her voice. The others kneeling around you. You coughed loud as Alice helped you up. – “I think your curse hit me.” - you said with half a smile. It made them all laugh out of relieve. You supported on Alice to get back up.

“You need to end this.” – Agatha told Alice. A sternness in her gaze that meant she wasn’t toying around. This could take their soul. Alice shook her head, slowly backing away. All her live she felt there had been devils around her. All curses that wanted her dead before the day was done. Agatha grabbed her firm by the shoulders.

“You must sing the song you’ve despised your entire life.” – Agatha explained to her. Alice kept shaking her head. – “The song was her charm. A protection spell just for you. Have you not wondered why the curse hasn’t taken you fully. Because every day, anywhere there is someone playing your mother’s song.” – her words inspiring Alice.

Her anger slowly settling for sadness. A grief carving in her heart. For it bled deeper than anger. A shift in her gaze gave Agatha the strength that she would succeed. Instruments were divided as you went to sit behind the drums. Waiting for Alice her cue. Lorna’s ballad. Her version of the witches road.

I have learned the lesson of all that’s foul and fair.

Our love was forged in fire, water, earth and air.

The spell is cast, how long it lasts.

Hitting the drums, you followed along Alice’s guidance. Agatha’s singing filling the room. With each word, you felt a shift in the wind. Something present, yet unseeable. Down, down, down the road. Down the witches road. The house shaking. Fires erupted from behind you. Warming your back with a smothering heat.

Rising up to the ceiling like the consuming fires of hell. Hell fire blazing with rage. Hitting the drums harder, you were panted loud. Down, down, down the road. Down the witches road. Your familiar jumped on your shoulder, sending a pressing on your body. Blinking confused, you suddenly got aware of something.

Letting your gaze go down. Vision blurred from the piece of glass you saw sticking out of your side. Blood dripping out. Swallowing nervously, you continued to play the drums. Drowning the vision out, focussing on the more pressing matter.

Alice called it out, her eyes full of horror. Looking up there was the creature. Send from hell to conflict pain. Your familiar hissed at it. The creature screeched loud as it made Alice stop the piano. – “I… I can see it.” – she said in utter shock. Shock that this creature had been tormenting her for so long. – “Keep going!” – Agatha shouted at her. Aware of the fires erupting around them.

Slamming the drums hard, you wanted to get Alice’s attention. Needing her to continue if she ever wanted to get rid of her curse. – “Smoke him out!” – you shouted loud. Alice took a determined breath, playing the piano keys once more. The creature took off flying straight down to Alice. It’s claws burned once it grabbed onto her shoulders.

Yelping it out in pain, she continued. Taking over Agatha’s singing. For Lorna. For her mother she was singing her heart out. Sweat having formed on your forehead, you kept playing, panting loud. From ash thy are born and to ash thy shall return. The creature evaporated into nothingness through the fires of hell.

The piano lifted up, revealing the end. You got up from behind the drums, coming nearer. – “Wonderful.” – you said before dropping to the ground. Having passed out. – “Y/n!” – Agatha called out running over to you. Her hand hovering over the piece of glass sticking out of your body. Your familiar meowing loud, letting his nose brush against your cheek for a reaction. – “Quickly, help me!” – Agatha called out.

Lilia and Jen helping her. Teen picked up your familiar, carrying her while going through the piano. Stroking him soothingly to calm him down. Outside Agatha ordered for you to be placed down. Jen took out the glass. – “There’s so much blood.” – Alice commented with a pained expression.

Agatha stood before you, holding you down by your shoulders. – “Do something. Help her!” – she cried out. Begged. – “Jen!” – she shouted catching her attention. – “Please…” – she pleaded. Begged. – “What do you need to heal her?” – Lilia asked. – “Water and moonlight.” – Jen answered. Alice went to fetch water. Returning back to her with it. With worry Agatha was watching Jen perform the spell.

“Please…” – she whispered lowering her head against yours. Jen rushed to you, making Agatha lift her head back up. Sniffing loud to wipe the tears away she wasn’t aware of were there. Jen dropped the water on your wound. Watching carefully as the wound faded away. No mark, no scar to hint you were ever bleeding. Having set up a little camp for you, Agatha decided to sit with you.

Sit close to you, holding herself as she stared into the distance. Sometimes her gaze would be on you. Keeping a close eye on you. Sniffing loud, she wiped some stained tears away. She took a deep breath, adjusting her posture. Straightening her back, rubbing her hands down her legs when she saw you move.

“Good, you’re awake.” – she said in her cheerful saying you knew were just a glamour. A glamour to hide her true feelings. Sitting carefully up, you still felt a bit out of strength. Agatha kept looking at you, nodding her head with a faint smile. Seeing her lip quiver just that little. Hinting she was doing her very best not to cry.

“You can’t get rid of me that easily.” – you responded brushing your hands off. Agatha smiled. – “Good, for I’m not letting you.” – she answered. Before you could answer she got up. – “Rest enough for I need your strength later.” – she said walking off. Sitting by your own, you looked around.

Fingers digging through the dirt, turning your wrist, picking up some dirt. Letting it crush in your palm before letting it drop by opening your hand. With a heavy sigh, you got up to join the others. The others were intrigued by your presence You came to sit down with a heavy sigh. Your familiar who was still on Teen’s lap, got up and ran across towards you. Snuggling up to you as you petted it.

“Y/n tell us, do you have any battle scars?” – Jen asked. Glancing to the side, you saw Agatha roll her sleeve back down. With a soft breath, you started rolling up your sleeve. The other’s eyes widening at the scar marks going in thin lines around your arm. Rolling your other sleeve up as well, you revealed the same marks.

“Where did you get these?” – Agatha asked in shock, having never seen them before. Staring in front of you, you were pulled back to the memory. Standing barefoot. The sound clear in your mind, making you gasp loud. A thorny root wrapped around your arm.

Strangling around your arm like a snake slithering. Swaying your hand forward another root strapped around your other arm. Keeping you in place. Fighting to be released. Calling it out with every might as another one strapped around your ankles. Limbs struggling and pushing against the restrains. With a mighty pull from thy earth you dropped with a thud to the ground.

Clawing your way for a grip as the roots kept strangling around you. Screaming and shouting for help. The women in front of you not moving an inch. Standing in a line before you, palms up. Crawling your way out, the roots dragged you over the ground. Dragging, dragging till you tilted down a nothingness below you. The heavens growing smaller as the darkness consumed you.

Strengthened by earth to earth you shall be send.

--------------------------------------------------

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youtellmeman · 9 months ago

Note

Hello ma’am 😈 I am here to request 😈 I’m thinking neteyam and reader are like enemies😡 they do not like each other okay but somewhere somehow they accidentally perform tsaheylu with each other and then they bang 😦

Yuh first request done-zo I really enjoyed writing this so i hope you like it.

Neteyam Sully x Fem!Na'vi!reader

Rated R

includes- smut, ma as a pet name, baby as a pet name, fingering, p in v, dirty talk, fem genitailia, accidental tsaheylu

In this tsaheylu is only explicitly erotic the first time around and it can be used to simply better understand what your mate is thinking/feeling.

Na'vi word translations

tiwan- love, wiya- damn, tewng- loincloth, knalu- fuck, Uvang- damn, skxwang- moron,imu’ta- bitch

italics= spoken in na'vi

Hating Neteyam, had been easy. After all it was all you'd ever known when it came to the blue boy. You’d always seen him as so, so irritating.

He always thought he knew better, better than his siblings, better than the other kids in the village, and better than you. That being eldest son to the Olo’eyktan made him so much smarter than those his age and unfortunately it seemed that trait would follow him to his grave as even now, after being accepted into the clan as an adult,he held himself to be so all knowing.

“What are you doing out here?” the voice came from behind you, his voice. “This area of the forest is dangerous, you should have someone with you.”

“Why, because I am incapable of taking care of myself?” It's a loaded question,but you can't help the way he is so quick to get under your skin. Whipping around to meet his citron eyes, raising a brow when you hear him scoff to himself.

“Why must you make everything into conflict?”

“Why must you be an imu’ta who refuses to let me live in peace.” I bite back and the air between us grows tense, eyes boring into eachothers waiting for one of us to break.

“Damn it, you are so difficult for what? I am simply looking out for you, it is dangerous, we both know this.” he huffs angrily out his nose and his tail thumbs against the ground with his growing anger.

“Have you considered that perhaps I don’t need anyone looking out for me? Especially not you, now leave me be and let me hunt in peace.” You roll your eyes and without waiting for a response you start to walk. Slinging your bow over your shoulder as you search for a new, quiet place to hunt.

“How dare you turn your back to me!” You can hear his steps speeding up after you resulting in your pace speeding as well until he manages to catch you. His slender fingers wrapping around your wrist spinning you face him. “You dare disrespect the future-”

“Future! You said it yourself!” You cut him off hissing the words at him angrily, “You hold no authority over me Neteyam so cease this useless display of power. Power that you do not have.” You spit. And maybe if you’d been less focused on the current shouting match you were having you would’ve noticed the small hand wrapping around your queue.

“Regardless of whatever you may think I am owed respect!” He snarls back and before you can you feel a sudden rush through your system, something so new yet familiar and immediately your eyes leave Neteyams face to focus on finding what's caused this surge of energy and what you can only describe as feeling. You find it immediately, honing in the little blue hand wrapped around your queue, your queue that was currently connected to, to…

“Tuktirey!” It's Neteyams voice that cuts through the silence though you can barely hear him,you can barely hear him with the wave of shock that flows through your body clogging your ears like water.

You can tell he's scolding her for a minute or two before she's shooed away, leaving you two alone still connected and you can feel it starting to ebb its way to the surface, the lust. Pupils blown wide as you find Neteyams eyes once more.

You can't find the words to ask why in the world Tuk would think that it’d be okay to connecther brother and yourself. All you can do is search his face and body for any sign he’s feeling what you are, and boy do you find it. Whether it be the rapid rise and fall of his chest or the tent in his tewng growing by the second.

Opening your mouth trying to find the words but you fail once more, or really you're cut off by the feeling of lips against yours as his hand finds its way to the base of your neck holding you close while the other pulls you in by the waist. And as his hips slot themselves so perfectly against yours you try to find some sliver of restraint, a tiny ounce of strength that will let you rip yourself away from him. You come up empty handed.

Hands finding their way to his hair pulling at the roots as you press him closer, pulling a heavenly groan from his lips.You find yourself pulling him back with you until your back meets tree, pulling back for a ragged breath.

“Holy mother.” You huff out in between breaths, Neteyam on the other hand has let his mouth wander from your jaw to neck, sucking dark purple marks onto the sensitive skin about your collar bone intermittently letting his fangs drag against the new purple markings, before coming back up. Neteyam kisses like he wants to consume you completely, it's a mess of teeth and spit as you both battle for dominance, it’s when he bites at your bottom lip that you give up on grasping at the reins letting him take complete control.

As your mouths clash Neteyam gets busy with his hands pulling the knot at the side of your loincloth before hoisting one of your legs up into his hip. Letting the arm that's not holding your leg slide between your bodies, finger sliding down your slick dampened lips, moving between tracing around your clit to moving downward to tease at your fluttering entrance. He does this a few times before you grow tired of his teasing. Pulling back to let your head rest on the bark of the tree.

“Quit it and do something, or are you just as incapable of pleasing a woman as you are at leaving me alo- ohh!” A surprised moan escapes your lips before you can finish the taunt.

“Wiya, you talk a lot.” The smug look that covers his face would have you rolling your eyes if you weren’t so focused on trying to keep them open enough to see anything at all. The annoying bastard had slipped in a finger while you were mouthing off, curling it to hit that spongy sweet spot within while letting his thumb rub lazy circles on your bud. “If I knew all it’d take to shut you up would be to stick a finger in you I woulda done it long ago.” He’s the one taunting now.

“Shut up you skxwang- hah- For you to think I would’ve ever let you touch me like this before. You clearly don’t know everything you claim.” You bite back best you can, and while you know your words hardly have any merit while you’re literally humping the palm of his land looking for more.

“Such a smart fucking mouth, lets see how that changes after I have you cumming around my fingers, hmm?” He leans close while growling out his retort, sliding in another finger as he speaks. And god, it should be criminal that it's him making you feel so incredibly good.

“Fuck Neteyam.” You whimper out and his fingers speed up their unrelenting attack, consistently hitting that sweet spot and thumb moving so quickly against that bundle of nerves it has your knees ready to buckle. “Shit, I-I need more.” You're whining against his neck now, head resting against his shoulder as he continues his assault and you can feel his chest rumble with the groan that leaves his lips.

“You want my cock baby? You want it real bad?” You can only imagine the pride on his face , but none of that matters right now, not when you really really do. So all you can do is nod as moans and groans slip from your lips at the thought.

“No, need to hear you say it. You had so much to say earlier ma , what happened?” It’s the smugness in his voice that leads you to fight against what he wants from you.

“Fuck you.” It’s practically a pant as you pull your head back from the crevice of his neck and rest it against the tree that has you sandwiched between Neteyam. Peering at him from your lidded eyes.

“Tsk tsk, not what I asked for.” He shakes his head and the small grin he wears is nothing but predatory. “You want to cum by my hands, you're gonna do what I say. " The pace he's picked up at the point is unforgiving, his fingers barely even thrust the tips simply rubbing against your most sensitive spot in a way that has you seeing stars and you can feel the coil in your stomach growing dangerously taut. But it's like he can see it on your face that you're growing close, and unfortunately he stands true to his words because as soon as you feel yourself about to teeter over the edge he stops. Leaving you withering against him.

“Nete-”

“Say it.” There's no room for negotiation in his tone, “Say it or you don’t get to cum and if you dont cum on my fingers first you sure as hell aren't getting my cock.”

It's almost pathetic how quick your resolve crumbles.

“I want you, please. Neteyam I want you please.”

“Say you need it.” Now he's just being mean cause he can.

“Fucking hell, need your cock so bad Neteyam, please.” Your breathing is ragged as you practically beg and he can hear the aggravation behind your voice.

“Not so hard is it, Tiyawn?” He quips as his fingers start to move again, thumb finding your clit as his index and middle continue the assault on the inside. And with you being so close prior it doesn’t take nearly anytime at all before your ether again, on the edge of complete euphoria just needing one last push. Push coming in the form of the third finger that ends up slamming into you, filling you up so completely and sending you crashing into waves of ecstasy. Hands finding his shoulders, nails leaving crescent marks in the blade of it as you ride your orgasm. Neteyam helps you through it, paying attention to your complete reaction while his fingered pump inside of you.

Sliding out once he's sure you’ve enjoyed the best of it,dropping your hip to your side, giving you one more openmouthed kiss before spinning you around leaving you to brace yourself on the tree that was once digging into your back. His hand finds the small of your back pushing you to be bent, arching subconsciously, readying yourself for what's to come.

You look over your shoulder just in time to see him rip the string of his tewng in a rush to move it out the way, letting his length spring up and hit his stomach.

To say that Neteyam was well endowed would be an understatement, youd heard rumors before but holy mother they didn’t do him justice. He made eye contact with you as he grabbed himself by the base getting ready to line himself up with your core.

“Like what you see?” And of course he’s cocky about this too. Neteyam raises a playful eyebrow.

“Thought you'd be bigger.” It's a lie, but you can't let his ego go unchecked. Though it doesn't seem too much as he simply sucks his teeth in response, letting a toothy grin spread across his face.

“Mhm, that’s why I can see you clenching at the sight of it then?” He retorts, still smiling as he moves, letting his tip slide between your lips, catching at your entrance. A move that has both of you shuddering in anticipation.

“Neteyam!” you whine out tired of waiting, pushing your ass back with a wiggle in anticipation and to hopefully get him to act sooner.

“Fuck, yeah okay i'm coming.” You can hear him mutter behind you. Properly lining himself this time before pushing in slowly, the girth of his head alone has you gasping for air. He’s slow to work himself in, not wanting to let his desperation for release lead to you being hurt. Eventually however he does bottom out and once he does the both of you let out sighs of relief. He gives you a moment to adjust before beginning to move, pulling back to grind back into you.

Usually this soft caring pace would leave you purring, but this is Neteyam and the fact that he just spent his time finger fucking you so good you see stars just to treat you like glass has you grinding your teeth in want for more.

“More.” You demand throwing a lust filled glare over your shoulder.

“Uvang, you feel so tight around me.” You're not even sure Neteyam heard you, his brows are pulled together and eyes scrunched in pleasure.

“Knalu Neteyam, harder!” You snap, punctuating your sentence by pushing back onto his cock which seems to break his trance.

“Eywa, why can't you let me enjoy this in peace?” His nostrils flare and eyes snap open boring into your own. Leaning forward he braces holds you by your shoulders. Sliding out till only his head is left inside of you before slamming back into you with enough strength to bruise. Switching from his heart shatteringly slow movement to thrusts that could shake Pandora itself. Thrusts that leave you gasping for air that's being knocked out of your lungs with every slam of his hips into yours.

“Oh Eywa! Neteyam fuck, yes!” Your moans are practically prayers as they fill the air around you, Not that he's being any quieter than you are. Moaning and groaning as he leans down to press wet kisses to your spine.

“Shit you feel so good Ma, fucking hell. Its like you were made to be wrapped around my cock, my perfect fucking pussy for the taking ain’t that right. ‘M gonna ruin you baby, mold this cunt to my cock. No one else could make you feel this good right Ma, c'mon tell me i'm right.” It’s hard to make out most of his rambles as he ruts into you like something feral, but you manage nonetheless.

“Fuck, yes Neteyam no one’s as good as you. No one could make me feel- oh my- feel half as good as you, shit!” You say back telling him whatever he wants to hear, telling him the truth. And it has him speeding up at which point you thought was impossible as he continues to ramble on and on about how good you feel around him against the skin of your back. One of his hands manage to find their way around your waist and to your clit, rubbing tight circles while his noises grow more animalistic by the minute and it has you fluttering around him causing him to twitch within you. The both of your peaks growing increasingly closer.

“I'm gonna cum, Net, fuck dont stop!” you warn him of your upcoming release and you can feel the way the knowledge fuels him, his grip on your shoulder tightening as he drills into you with fervor.

“Cum for me tiwan, wanna feel you cum around me, cmon.” He urges you on and soon enough it comes. Surginging through you like electricity, punctuated by a high pitched whine as your legs tremble. Neteyam fucking you through it fighting to hold off his own upcoming orgasm in lew of making sure you can enjoy yours to the fullest and soon enough you start to come down, the way you clench becoming softer and more spaced out as you begin to take deep breaths in order to ground yourself.

It only takes a few more pumps before the euphoria is hitting him like a splash of cold water and he’s quick to pull out and spill his seed on the curve of your ass and back, groaning your name slowly as he works his way through it.

Eventually you both restore enough air in your lungs to disconnect yourselves and get cleaned up. Finding a small and unoccupied pond to wash his essence of yourself along with the sweat you'd worked up along the way before slipping your clothes back on and helping him repair the string of his loincloth well enough that it would not fall off on his trek through the village.

Still once you're both clothed you both take a few moments to be together and fully grasp the fact of what this connection means for the both of you. It's then that you finally find the words you’d lost earlier.

“Why did tuk do it? Why did she connect us?” You ask, your eyes finding his in confusion.

“Our parents.” He starts, “ Sometimes they fight and sometimes when they do they perform tsaheylu. In order to better understand what the other is feeling. She thought it would help us ‘get along’” he finishes explaining and you can't help but laugh at the childlike innocence of it all.

“How sweet in theory I suppose.” You smile up at him stifling a few laughs.

“Yeah,” he chuckles, “Remind me to thank her when we get back.” At that you roll your eyes and smack him in the shoulder. “Hey!”

——————

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turnstileskyline · 11 months ago

Text

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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shaunamilfman · 2 months ago

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Dating Ghost!Jackie Headcanons

pairing: Jackie Taylor x r note: I'm not sure what this is either 🤷

Jackie being a pain in your ass beyond the grave. maybe not getting on with her super well while she was alive, so while her death was sad, it wasn’t nearly as emotionally devastating as it was for Shauna or someone else. so when you suddenly start seeing Jackie standing behind Shauna and trying to get her attention as she sobs over Jackie’s corpse, you wonder why you of all people would “hallucinate” her.

she finally notices you can see her when you can’t quite muffle your laugh at some petty comment she makes as the girls start carrying her body off to the meatshed. her eyes immediately narrow in on you while you’re just standing like a deer in the headlights.

just thinking about Shauna out there sobbing and crying in the meatshed with Jackie's corpse while Jackie's screaming in your ear because you won’t respond to her and she knows your ass can see her. at the top of her fucking lungs like a damn toddler. keeps switching into songs that give Crystal and Misty a run for their money on being annoying. holding a pillow over your head and groaning to drown her out, and Lottie’s trying to put a hand on your shoulder to comfort you, thinking it's hunger pain or something.

she doesn’t talk as much as she did before—not that she ever really talked to you all that much to begin with. Jackie stares after Shauna a lot, following her around and trying fruitlessly to get her to hear her. she’s quiet a lot now, but if she’s not at Shauna’s side, she’s at yours.

you finally give up and start answering her whenever you’re mostly alone, claiming it’s just because you’ve accepted that you’re crazy now—though it’s mostly because she just looks so damn sad all the time. she brightens up a lot after this, following you like a lost puppy as you find the emptiest corners of the room to sit in. the other girls sometimes catch you talking to yourself, but with how everyone else is doing, they don’t bother to be concerned about it.

makes it her mission to annoy you as much as humanly possible, commenting on every little thing you’re doing like she’s a game show host. if you have to listen to Jackie narrate the way you eat one more time, you might just join her. always finds the worst time to jump out at you, giggling as she makes you look insane for screaming in shock in the middle of the cabin.

Jackie knocks stuff over whenever the other girls start talking shit about Shauna’s behavior in the meatshed. she doesn’t talk a lot about what Shauna does there, but she always looks strangely flattered when she comes back.

keeps you up to date on all the little drama’s going on in the cabin that you don’t witness. there’s literally no stopping her from eavesdropping on conversations and giving you a play-by-play as they happen. sometimes you just hear a dramatic gasp as her ghostly ass is skipping over to you to tell you about it.

bullies you into giving some of your food to Shauna. Shauna looks at you like you’re crazy but eagerly accepts it all the same. Jackie is standing there looking so proud of herself, like she’s the one that’s going to be starving and not you.

you have weird dreams almost every night. they aren’t unpleasant, just a little strange. they’re always about Jackie, always in places you think she would’ve enjoyed. walking around the mall, passing the ball around on the field, that sort of thing. you don’t think much of it until Jackie mentions something in passing one day about it.

guilt trips you into doing things for her all the time. “Do you remember that time you let me go outside and die in the snow?” and then “yeah, that’s what I thought.” when you roll your eyes and go do it.

thinking about Jackie’s emotions bleeding over onto you. Jackie’s always felt everything so strongly, and this only seems to get worse after she’s died. you can literally feel her longing so strongly that it’ll wake you up in the middle of the night, just to find Jackie staring at you with the softest little look. you aren’t sure how to feel about it at first, but it’s better than feeling her grief.

who’s going to tell the dead girl she can’t have a little crush after all? besides, it’s not like you’re uninterested: Jackie’s the prettiest girl you’ve ever met. it’s a strange dynamic, but it’s not like either of you have a lot of options out here.

just as possessive, even in death. starts getting incredibly jealous whenever you talk to someone who’s alive. Nat’s asking if you’ve seen her headband and the fucking door slams open against the wall. you weren’t even aware she could do something like that. you can feel her eyes burning a hole into the back of your head as the whole room starts to get cold if anyone goes near you besides Shauna.

she always tries to touch you, but most of the time you can’t feel it. the only time you can is when she gets particularly emotional. a hand closing around your wrist and almost pulling you away when she gets particularly jealous about something, a finger brushing away your tears when you can’t help but cry, etc.

Jackie can’t really do much else, so she resorts to a lot of compliments. she compliments your three layers of random shirts like it was an actual fashion choice, and you finally have to draw the line. just thinking about Jackie complimenting you and then sitting cross-legged in front of you like “and now me,” all expectant.

#jackie thoughts 🩷#yellowjackets x reader #yellowjackets x you #jackie taylor x reader

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atydblack · 1 year ago

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sirius black x pureblood!reader where they r at a pureblood gathering in an established relationship & the reader although not a blood supremacist is pretty praised within the society and viewed almost as a pureblood princess, an example & a perfect (future) wife. she doesn’t love that but she’s used to coloring in the lines so she can’t help the way she is viewed by the pureblood society. anyway, sirius and reader r at some kind of pureblood event and he already feels out of place. reader tries to keep him at bay but eventually he causes a scene when a few boys actively hit on reader in front of sirius. reader pulls him aside and is just like wtf is wrong w u sirius u know im yours. lots of comfort and fluff plz

"pureblood princess"

masterlist

"I can't believe you're making me do this." Sirius huffed, frustratedly attempting to tie his tie.

"I don't want to go just as much as you don't!" You grumbled, wandering over to him and helping him with his tie.

"I have a solution," He smirked, "We could just... not go?"

You rolled your eyes, he had been complaining all day and you were done with repeating yourself.

"We don't have a choice, Siri."

It was the night of the annual Pureblood Ball and now that you and Sirius were engaged, your attendance was mandatory.

This year, the ball was at the Black Manor. The Blacks had been almost shunned from the society due to Sirius' behaviour but have now been welcomed back with open arms.

Sirius' parents were over the moon when they found out about your relationship. After years of Sirius refusing to accept his label as a pureblood, his engagement to you surprised everyone.

Your parents weren't so excited. There was constant gossip of the Black family after Sirius ran away and as you were highly considered the 'pureblood princess' to those in the pureblood society, they thought you could do much better.

Sirius didn't help himself when attending big events like this. You had to beg him to come and when he finally agreed, he just moped the whole evening.

"Why don't we just run away?" Sirius mumbled, pulling you in to his chest and kissing the top of your head.

"We can't." You mumbled back. As much as you did want to run away with Sirius forever, you just couldn't. Your presence was too demanded, if you ran away with Sirius they'd have his head on a stick within a week.

"At least you look gorgeous." Sirius poked at you.

That was one of the only thing you enjoyed about these gatherings, you could both dress up.

When you were much younger, these parties excited you too much. With rose tinted glasses on as a little girl the idea of wearing a pretty dress and have everyone fawning over you was a dream.

You could sense Sirius' anxiety upon arrival and as much as you tried to comfort him, he just quickly shut you down.

"Siri, you'll be fine. We just have to show our faces for a bit then we can go home." You reached for his hand.

"I am fine." Sirius grunted. "I just don't want to be here."

He avoided eye contact with you as you walked through the giant doors towards the dimly lit ball room.

You'd think that this would be any girls dream and perhaps if you ignored the details it might be. However knowing that almost everyones ideologies in that room were what many considered evil spoilt the whole thing.

Everyone was dressed in dark colours, your deep red dress complimenting the room. The most infamous names in the pureblood society were here tonight, so you knew you had to put on your best act.

"Sirius," Narcissa greeted sternly as her and her sister Bellatrix approach the two of you "Y/N."

Sirius' jaw tightened as he kept his words to himself.

"Narcissa, Bellatrix. Lovely to see the both of you." You faked a small smile.

"Congratulations on your engagement," Bellatrix sneered. "How you managed it I will never know, Y/N."

"I'm not quite sure what you mean."

"Well, our dear Sirius would have danced on all of our graves just a few months ago, including yours." Bellatrix smirked. "You must tell me the details of the charm or potion you used to make him like this."

"Oh piss off, Bellatrix." Sirius barked.

"Oops, looks like it's wearing off." Bellatrix laughed before the two of them strutted off.

"Great start." You mumbled.

"Can we just leave, Y/N." Sirius groaned.

"Just a little longer, Siri." You squeezed his hand as you moved forward within the party, before spotting both your parents approaching you.

"Y/N, darling." Your mother ushered you over. "Come join us."

"Orion," You smiled gently "Walburga, lovely to see you both again."

You had known Sirius' parents since you were born. Funny how differently women and men were treated in this odd society.

You were treat like a delicate flower and on the other hand Sirius was raised with high expectations of being this big strong man. Now somehow you were the one being praised for bringing him back into this toxic environment.

Sirius stayed silent, not bothering to utter a word to your parents nor his own.

"Oh, darling Y/N, how stunning you look." Walburga gushed. "You will be such a stunning bride."

"Indeed," Orion spoke sternly. "It will be a pleasure for the pureblood princess to be part of the Black family."

"It will be my pleasure." You blushed.

Sirius let go of your hand, walking away from the group without a word.

"He's um-" You mumbled becoming flustered. "He's still getting used to being back here."

"Don't worry darling," Walburga reassured you. "We couldn't manage him so we can hardly expect you to."

You gave a fake smile and after a while of conversing with you soon to be in-laws, you left to get a drink.

Your eyes wandered around the room as you waited for your drink at the bar, Sirius nowhere to be seen.

You couldn't blame him, it wasn't exactly the best place for him to be but you didn't expect him to abandon you within the first 10 minutes.

"If it isn't the pureblood princess," A voice was heard from behind you. "Where's your retched fiance?"

It was Evan Rosier. He had been on your case for years and after many, many proposal refusals he still couldn't give up.

"Why would I tell you." You muttered.

"Ah, he's left already? I'm not so surprised. He's always been a runner." He came closer to you, not leaving eye contact. "I would never abandon you, princess."

"He hasn't abandoned me." You snapped. "Can't you take no for an answer? I'm engaged."

"You think I believe that? What business does Sirius Black have with you? He hates all of us, including your family."

"Shut up."

"Can't handle the truth?" He reached over to grab your chin, forcing you to look at him. Not wanting to cause a scene, you let him. "Princess, I would give you the respect you deserve and you know it."

"Leave me alone."

He chuckled, leaning in closer.

"Make me." His face was inches from yours as you froze inside yourself.

Before you knew it, he was being pushed against the bar, glasses smashing everywhere.

"Keep your hands off of her you filthy rat." Sirius barked.

"Your puppies come off his leash, Princess." Evan smirked.

Sirius shoved him harder, ready to hit him.

"Sirius, don't" You grabbed ahold of his arm as the room went silent. "Don't do this."

"Yeah, or what?" He grunted.

You pulled on his arm harder and he turned to look at you, his features softening as you caught his eye.

"Lets just go, Siri, please."

He pushed Evan to the floor before storming out of the front doors.

You rushed after him, ignoring the muttering of gossip as you did so.

"Fuck!" You heard him shout out of frustration now that he was away from everyone.

He was sat on one of the stone steps with a cigarette in his hand and you sat yourself next to him.

"What was all that about?" You mumbled.

"Are you fucking kidding?" Sirius grunted. "He was all over you."

"I can handle myself."

"Doesn't bloody look like it." He bit.

"Well, I can." You bit back. "You know how many years I've had to deal with men like that?"

He was silent for a moment.

"I'm sorry I just- I can't stand being around all those people again."

"All those people? Siri, they're your family."

"Yeah well they're all pricks." He muttered. "And you- why are you pretending like becoming a Black is such an honour? My family is filled with lines and lines of horrible people and you know it."

"I know. You know I have to say these things." You responded. "But I do feel honoured."

"How could you possibly feel honoured."

"Because I get to marry you."

He turned to hide is blushed cheeks before turning back to you.

"I love you, Y/N."

this is not proofread and there is no smut im so sorry but i just wanted something to back into the swing of writing and loved this idea!

#sirius black x reader #marauders #sirius black x reader smut #sirius black smut #wolfstar #james potter x reader #sirius black #marauders x reader #james potter smut #james potter #sirius orion black #the marauders #marauders era #sirius black fan fiction #sirius x pureblood reader #sirius x reader

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tragedy-of-commons · 2 months ago

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PUNCHES A HOLE IN UR WALL AND POKES MY HEAD IN. HI GWENNIE!!!!! major congratulations on ur milestone u lit deserved it sm thank you for everything uve done IM SO PROUD OF YOU ٩(ˊᗜˋ*)و ♡

may i please request romantic w dan heng + "ive spent my whole life building walls around my heart, yet somehow, you managed to slipped right through them." feel free to tweak it however u see fit!!! <3

"I've spent my whole life building walls around my heart, yet somehow, you've managed to slip right through them."

Your confession is candid, whispered through a thick haze of tears. The heaviness of your statement doesn't escape Dan Heng entirely, but it's overshadowed by the weight of your head lolling against his shoulder.

The thing you're accusing him of sounds like a grave sin when you put it like that, but then again, maybe it is one. Maybe the unintentional fondness he harbors for you is meant to stay that way - meant to stay a secret.

For a long time, it was his one guilty pleasure, loving you. But now, as you cry and shatter just out of arm's reach, Dan Heng finds no solace or reprieve.

He doesn't know what to say or what to do; he hadn't meant to endear himself to you at all. Quite the opposite, in fact - only speaking to you when necessary, guarding his cards just as close as you guard yours.

However, the smallest of cracks plague even the largest of dams, worsening day by day until all the water bursts from its reservoir, engulfing everything in its wake.

Both of you are drowning.

Dan Heng says nothing, still as a statue. You continue, much to his relief and his distress.

"It's weird, right?" you hiccup. "That… that we both wanted to stay strangers, but we ended up like this anyway."

Trembling further, you nuzzle against his side. It almost seems like an invitation for him to provide comfort, but you know him well enough. He doesn't trust himself to assuage your pain, and even if he tried, you'd just shut down. Is your bond that superficial? And if so, why does his heart pang so forlornly at the notion?

The best thing he can do is let you get this out of your system. Despite how he's been floundering to form a response all this time, Dan Heng speaks without thinking. "I'm sorry."

He is. He's sorry that he let you get this close. He's sorry that you won't let him wipe your face clean with a cheap tissue. He's sorry that you're just a little too much like him.

You laugh, devoid of mirth. "Platitudes are r-revolting. Will you kiss me?"

"No," he whispers, stroking your hair awkwardly. His fingertips prickle like he's been toying with sewing needles. "You don't… you're vulnerable--"

"You're the one shaking."

Dan Heng kisses you.

It didn't take much of his strength to gently but desperately maneuver you to sate his hunger (wicked self-restraint), getting lost in the plush of your lips that taste of salt. For a fleeting moment, he registers that the thing responsible for the flavor are the tears rolling down your cheeks.

It doesn't explain the dampness of his own, though. A man like him hasn't cried so viscerally in years, not when everything he loved had rightfully been ripped away prior to his rebirth.

He came into this world with nothing but the weight of his previous sins on his back - and now that he has been made to care about something, no, someone - Dan Heng is reminded that he is not absolved of his crimes.

He is not absolved of his love for you.

You return the kiss with equal fervor, confirming this sentiment. Between the melding of mouths, you pile insult on top of injury, the sting heady and aware.

"I love you…"

An appropriate reply comes to mind, taunting and eager. Dan Heng doesn't stop it from flooding out, teeth gnashing against yours while he chokes on the words.

"I'm sorry," he repeats.

Both of you drown.

🏷️: @akutasoda, @aviiarie, @lowkeyren

a/n: anddd... that's a wrap! um, sorry for the angst, rennie. i wanted to go out with a bang. thank you for your request and for making this event so special for me <3

event post here

#[200] everybody talks!#—stellaronhvnters.#dan heng x reader #hsr x reader #hsr dan heng x reader #dan heng hsr x reader #honkai star rail x reader #dan heng angst #hsr angst #honkai star rail dan heng x reader #dan heng x you #lowkeyren #✧ my writing

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certifiedlovergirlsstuff · 8 months ago

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request!!: peter parker who has a huge crush on reader and one day r just accidently friendzones themself without even realising that they did? (i hope that makes sense?) then after that u can take it anywhere u want to honestly!! ly <333

ily anon, you answered my pleas. also you know that tt prank where couples kiss and then say “thanks brother” or “love you sis”… couldn’t help but add it for some comedy.

mcu!peter parker x fem!reader

masterlist

you need to learn when to shut your mouth. tripping your foot into your mouth has gotten you into too many situations before, but this one is absolutely the worst one. you might as well be taken to the grave already.

your just a girl. sometimes you say your crush is “like a brother to you” when getting hounded by mr. delmar. it’s a panic move, mouth speaking before mind catches up. and it landed you in the dog house when you saw the way peter’s face dropped at the implication. but you thought he was smart enough to know that wasn’t true, you were touchy and teasing with him. you wouldn’t do that with a sibling, you’re not one of those people.

“mj, i’m a fucking idiot.” groaning into your pillow, trying to suffocate yourself.

she gave an exasperated sigh that you knew was followed by an eye roll. “yes you are, but you don’t need parker.” you heard the flip of a page.

you whined in your throat, “but i want parker!” acting like a tantrum kid. even adding a kick to your feet, your bed springs creaking.

mj groaned, “then clear the air! it’s not that hard!” over your peter parker drama.

you rolled from your stomach to your back, arms flipping to your sides as you stared up at your white ceiling. “but what if-“ your sentence was cut short by a knock at your window.

“say his name and he appears.”

peeking at the tips of your toes you saw peter squatting on your terrace, a hesitant smile with an awkward wave. welp, now’s a good time to clear the air.

crawling off your bed you pushed the window up and were greeted by a cool breeze. bits of peter’s baby curls swaying with the touch, a angelic glow surrounding him. you feel yourself melt just at the sight of him.

“h- hey peter, whatcha-“ “can we talk? alone?”

your eyes zeroed in on mj who was blantanly staring at the two of you, book of no interest at the moment. “oh, i’m fine over here.”

“mj…” “fine. fine. i’ll see you both at school.” packing up and leaving your home with a wiggle of her brows.

“so what did-“ “do you really think of my as a brother?”

you couldn’t help a small chuckle, “kinda funny how you’ve interrupted me three times, but uh, no. i- i don’t see you as a brother, that thought feels gross. mr. delmar was making me anxious.” looking to your fingers as you drummed them along your windowsill.

“oh thank god.” peter declared while cupping his hands on your cheeks to bring your head up. both of you smiling brightly at each other

two months later

“so what do i do?” “just sit there and look pretty.”

a shy smile at peter’s lovely words. he finished setting up his camera and pressed record, you just stared at his side profile.

“you wanna get to her, well you gotta go through me.” and peter turned to kiss you on the lips. a shiny haze covered your eyes then- “love you sis.”

“peter!”

#erin’s blurb requests #peter parker x you #peter parker fluff #peter parker angst #tasm peter parker #peter b parker #peter parker fic #peter parker imagine #peter parker x female reader #peter parker x reader #peter parker #mcu peter parker #ps5!peter parker

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daisynik7 · 1 year ago

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Fortunate

cw: ~900 words, established relationship, fluff, happy ending, some angst, implied Season 2/Shibuya arc spoilers, smut (but very brief) - MINORS DO NOT INTERACT

Author’s Note: This is for @honeybleed's 90s r&b collab, congrats again on the amazing milestone! This is inspired by the song Fortunate by Maxwell. Thanks for reading! Divider by @/cafekitsune.

Nanami wakes up in the cold sweat, gasping for breath to fill his lungs, as if he’s been drowning in his sleep. His heart races, pounding so hard against his chest that he’s sure it’s about to burst out of his ribcage. The entire left side of his body tingles, the remnants of a traumatic injury from almost a year ago.

It takes him a few seconds to realize that you’re holding him, clinging to his right side, staring at him with concern in your face. “Bad dream?” you ask, eyes wet with tears you try to blink away. Your voice trembles, attempting to hide it, though Nanami can still tell.

He recalls the moment from right before he woke up. He was engulfed by fire, every inch of his skin scorching from the flames, gradually burning him away. Flashes of memories and familiar faces played out like a montage in a movie. Gojo’s cocky smirk, Yuji’s eager expression, Haibara’s bright smile. What you wore on your first date, how soft your hand felt in his the first time he held you, the song the two of you danced to the first time he said, “I love you.” Breakfast every morning at the dining table, mid-afternoon naps on the couch, making love until the two of you fall asleep in each other’s arms.

No matter how many times he relives it in his sleep or how vividly he remembers the pain from that night in Shibuya, nothing will ever hurt worse than that split second into the afterlife, when he was sure he’d never see you again. How lucky he is to be able to say that never came true.

He walked through fire, fought through hell, dug out of his own grave, all that to return to you. And he’d do it again and again and again. How fortunate he is that he doesn’t have to anymore. It’s one of the biggest perks of being a retired Jujutsu Sorcerer.

He shifts in the bed to face you, breathing steady now. “Absolute nightmare,” he says, giving you a half smile.

You swallow hard, brushing away strands of blonde hair to wipe off the perspiration beading on his forehead. “Well, you’re awake now.”

His smile grows into a full one as he scoots closer, nuzzling his nose to yours. “Thank god for that.”

You wrap your arms around him, squeezing him tight. “You’re still shaking. Pretty bad, huh?”

He closes his eyes, cherishing this feeling of being surrounded in your warmth. “Yeah.”

“The same?”

“Yeah,” he repeats, not elaborating. You already know what he dreams about. The nights you stayed up with him as he twisted himself into the blankets, tossing and turning from the fight that still weighs heavily on his mind. He doesn’t know what he’d do if you weren’t there beside him, to comfort and console him back to sleep. He wouldn’t even be here if it weren’t for you.

You take his face into your hands, cupping his cheeks tenderly. The skin on his left side is taut from his injuries, which have healed nicely since that incident. You trace his scars, marveling at how beautiful he is. Evidence that he’s alive. What’s more beautiful than that? Closing the gap, you kiss him softly on the lips. His hands slide around your back, pulling you in deeper.

Sometimes, words aren’t enough to put each other back to sleep. On a night like this, with only the glow of the full moon barely peeking through the shutters and the even rhythm of your heartbeats filling the quiet space between you, it’s only right to melt into one another.

His thumbs hook to the waistband of your pajamas, pulling them past your bottom, now exposed for him. He squeezes your flesh in his firm grip, using little strength to roll you on top of him. He loves it like this. Something about having your body on top of his makes him feel safe. Secure. You trail along his neck, kissing his scars, whispering, “I love you,” into his skin. He relaxes into the pillows, letting you worship his tattered body, the same way you would as before. You never treated him like a broken man after the horrors of Shibuya. Instead, you’re a constant reminder that’s he’s in one piece.

Slowly, with no rush to fall back asleep, you undress each other. He twitches slightly as you palm his erection, craving more than your fist. You don’t make him wait long, reaching for the nightstand to retrieve the bottle lube to properly coat him. Straddling his lap, you guide him inside you until you are stretched perfectly around his cock. You stay still for a moment, relishing the sensation of being completely full of him. “I love you,” he says, cradling you as you begin to rock back and forth. You kiss lazily, taking the time to savor each other.

After you’re finished and cleaned up, you’re both back on the verge of sleep. You nestle into his broad chest, listening to his heartbeat to ease you into a peaceful slumber. Before you’re gone, you whisper, “We’re so lucky, aren’t we, Kento?”

He smiles, placing a delicate kiss to your forehead, snuggling you tighter. “You have no idea.”

#nanami kento #nanami x reader #nanami smut #nanami x you #nanami fluff #nanami kento x reader #nanami kento smut #nanami kento x you #nanami kento fluff #kento nanami x reader #kento nanami smut #kento nanami x you #kento nanami #kento nanami fluff #jjk x reader #jjk fluff #jjk smut #jujutsu kaisen x reader #jujutsu kaisen smut

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lis-likes-fics · 6 months ago

Text

Love Letters

Pairings: Aaron Hotchner x Reader Word Count: 8.1k words Warnings: Murder, torture, depictions of mental illness, typical Criminal Minds content... A/N: Collabed with a couple friends about the serial killer. Guys, this was hard. Spent sooo much time building this character and then didn't even end up using all of the stuff we came up with. But it was fun and I enjoyed this and I hope you do too! Special thanks to the ones who helped me plan, @the-nerdy-goddess and @thecreature-bug and my beta reader @killerqueen-ofwillowgreen!

A knock on your classroom door has you turning your head, and you smile at the sight of the math teacher one door down.

You know why she's here, sneaking a “meeting” before all the kids get here for homeroom. You roll your eyes, scooting back in your rolling chair and crossing your arms.

“So how was the date Saturday?” Esther asks, raising a teasing brow as she walks further into the room, taking a seat right on the side of your desk. “You get lucky?”

You scoff. “I wish. The guy was boring. It was a total snooze fest.” You pick up a paper from your grading stack, marking another consecutive one hundred on little Amelia's test. “I told him I was a teacher and he told me how he had a crush on his teacher from the eighth grade.”

“Blergh,” she groans, making a face. “Was he a gentleman, at least?”

“I wish, part two. He didn't pull a chair, he didn't open a door.”

She shakes her head in disappointment and pats your back. “Your gentleman is coming to you soon. You deserve it.” She reaches over, picking up your necklace and running her thumb over the F before dropping it back down. “And I like that necklace.”

You laugh sarcastically at her, jutting your chin out toward the mirroring E around her own neck. All the fifth grade teachers wear one, a gift from Sarah’s—the science teacher’s—birthday party. “I like yours.”

She brushes the golden charm on her dark chest with a smile. She scoots off your desk. “Hey, if you're looking for another date, I might have a guy.” She winks at you, and you almost throw a pencil at her.

“Don't you have a class to teach?”

“Eventually,” she shrugs. “Small accident a few blocks away, traffic’s backed up. Buses are late–”

“–and most of your class rides the bus.” You nod, “Yeah.”

She walks to the door, patting the frame twice. “But I'll leave you be. I have copies to print.”

You shoo her away. “Goodbye.”

She winks at you again, clicking her tongue. “See you.”

The elevator doors close as David steps in next to Aaron. After a quick once-over, he smiles. “You look tired. Jack?”

Aaron shakes his head as he glances at his shoes, “No. Jack's fine.”

“Oh,” Dave raises his brows. “Did Aaron Hotchner have a date?”

He chuckles, amused by the assumption. “Me?”

He shrugs. “Good to have a little hope.”

Another rare chuckle passes his lips as he shakes his head again. His voice is low and soft with his amusement. “Yeah, I had a date. With a wrench and a kitchen sink.”

He hums, tilting his head from side to side as if weighing the options. “A date is a date. At least you can fix the sink.”

“Alright,” he mumbles lightheartedly.

Dave pushes the doors open as they enter the round table room, watching as the rest of the team slowly makes their way. When everyone is present and accounted for, he begins.

“What have we got, Garcia?”

Penelope sets her coffee cup down, making a face. “Oh, my little ducklings, nothing good.” The screen turns on and presents a round of crime scene photos, multiple women covered in uniform cuts all matching the other perfectly, besides the differences in the letters adorning their chests. It's graphic and strange.

Garcia avoids looking with everything she has. “Some hikers at the New River Gorge Bridge in West Virginia were going about their business when they found five perfectly marked graves lined up in a row.” The presses a button and said graves are shown before and after they were dug up. When Garcia says perfect, she means perfect. The graves are perfect rectangles, all the same size and depth and almost as though someone used a ruler to make sure the lines were straight.

“The bodies found were Madeline Johnsons, Beatrice Cabrera, Clara Warner, Dakota Platt,” one more press reveals a woman with dark skin now pale with death, “and our latest victim, Esther Cooke.”

The team flips through the files they were given, analyzing the information as it comes. “All were found covered in multiple incisions all over the body, and letters carved on their chests.” She makes a face. “I don't know how much you guys gate papercuts, but I know that if I got as many as our victims here, I'd be forever emotionally ruined.”

Reid's analytical eyes take in the sight of the bodies. “It's almost reminiscent of Lingchi, translated to ‘slow slicing’ or ‘death by a thousand cuts’. It was a form of torture and execution used in China around the 10th century until the early 20th century.” He talks a mile a minute, squinting his eyes at the photos as he does.

Prentiss shrugs, “Well, one papercut is bad enough, I could never do a thousand.”

JJ brings her drink to her lips. “I couldn't do ten.” They chuckle to each other.

Morgan juts his neck toward his files. “How did they die? The wounds are made for bloodletting.”

Garcia groans lightly. “So not glad you asked. Their throats were slashed, two incisions made at each side of the neck to cut the jugulars.” She adjusts her glasses, glancing at her tablet. “Autopsy reports say very slowly and with a very sharp knife. Like the unsub was trying very hard to keep steady. They also found traces of chemicals used in disinfectant in the wounds.”

Prentiss' brows knit together. “Why not just cut it clean across?”

“Well, look, there are 26 cuts in total on all the bodies, including the one at the neck,” Reid points out. “The incisions were very specific.”

“‘Course it was, look at that pattern,” Morgan says.

Each limb has a total of six equal cuts along the top of them, with the last two finishing off at the neck. It's too specific.

“All of the letters on their chests match the beginning of their names, except for Madeline. She has an A,” Garcia explains. “Madeline's family said she went by Addy.”

“Then the letters carved into them match the first letter of their names,” JJ says. “Maybe he's trying to go through the alphabet.”

“Matches the cuts,” Rossi shrugs. “There are 26 cuts, 26 letters of the alphabet.”

“Who died first and who was last?” Hotch asks, not looking up from his screen.

“They were killed and buried in alphabetical order, sir.”

A few members of the team nod, their theory supported. Reid clasps his hands. “Paired with the perfection of the graves, the specificity of the incisions, the disinfectant, we could be dealing with someone struggling with high level obsessive compulsive disorder.”

They agree.

“But how is he targeting his victims, other than by their names?” Prentiss wonders, “I mean, how does he figure out what their names are in the first place?”

Rossi sighs, “I guess that's what we have to find out.”

Hotch looks up at his team, his stern gaze glancing among them. “Based on the timeline of these kills, we hopefully have about a week before he strikes again. Let's not give him time. Wheels up in thirty.”

You look up at the gentle knock on your door interrupting your silent lunch break. You clear your throat, dropping your hand from your necklace as you lay eyes on Principal Luis.

“Hey,” she greets softly. “You doing okay?”

You nod, offering a half-hearted grin. You've had to smile at your kids all day today, despite the grief, and you were really depending on your break to wind down from it. “Considering.”

“You think you could talk? There are some FBI agents here with a few questions about Esther.”

You sniff, furrowing your brows. “FBI?” For you? You supposed that makes sense. You were close enough…

Two agents walk into the room, their professional blacks offset by the colorful parade that is your classroom. It looks strange, almost silly. You stand to greet them.

The woman offers a smile, a kind face to ease any worries you may have. The man is a little more stern, but there's a gentleness you admire hidden beneath.

“Hello, Ms. Hughes,” he greets. “I'm Agent Aaron Hotchner, this is Agent Jennifer Jareau. We're with the FBI.”

“You can call me JJ,” she says as she reaches a hand out toward you. You take it. “We're here with a few questions about Esther Cooke.”

You try not to look too miserable.

Agent Hotchner’s voice is soft as he speaks to you. “The principal said you and Ms. Cooke were close?”

You nod, crossing your arms. The classrooms are always cold. It's felt a little colder lately.

“She worked right next door,” you try not to stutter. “We were the closest in our department. I'm holding conferences tomorrow with parents about taking some of her kids into my homeroom until we find a…a replacement.”

Noticing your disquiet, JJ speaks up. “Was there anything going on in Ms. Cooke’s life? Anything out of the ordinary?”

Thinking, you shake your head. “Not really.” You shrug, “It was school, home, and not much else. The occasional night out with me, we are–” you clear your throat, “we were both single.”

Agent Hotchner adds in, “We're there any strange absences or even a trip she was going on?”

Again, you think. But nothing really comes up until– “She mentioned that she went on this tour thing with her parents last weekend, local. Some sort of…hiking thing? It's usually for tourists but they won free tickets.” Then you back track, “Is that the kind of thing you're looking for?”

JJ glances at Agent Hotchner. You're not sure what that means. “It could be.”

“When was the last time you saw her?” he asks.

You shrug. “Monday…before she went home. She didn't show up Tuesday or Wednesday, I figured she just got sick or something…forgot to tell me.” You rub your cheek with your sleeve. “I thought it was weird ‘cause she didn't call in or anything. I had to request a sub for her.”

Agent Hotchner nods. “Thank you for your help.”

“Of course. Anything.”

He dug in the inside pocket of his suit. “Call us if you have anything else. Here's my card.”

You reach out to take it, your fingers brushing. It was a comforting feeling. “Thank you.” The words are gentle as they leave you. You shake out of your slight daze, “Uh, here's mine if you have any other questions for me.”

You go behind your desk, grabbing a sticky note shaped like a koala and the first pen you see (which ends up being the brightest green marker you own)... The kids love the colors.

When Agent Hotchner takes it, he almost grins. You recognize the hidden amusement in some of the kids you teach. The ones that are harder to get to open up, even at this age. It's a little sad. Those kids happen to be some of the sweetest you know.

The sight of him in a sophisticated suit with all his professionalism, holding a cutesy koala sticky note is almost comical. He nods his thanks, and then turns to JJ.

They both begin to make their exit when you stop them. “Hey.” They turn. “Did anyone find her necklace?”

“Necklace?” JJ furrows her brow.

You nod. “All the fifth grade teachers have necklaces with our letters on them. Just like this.” You pick up the little charm around your neck for them to examine. “Except she had an E.” You let it drop, scratch the back of your neck as you hum. “Her parents said they never found it when they…”

The thought of saying “dug her up” out loud was haunting, and you already felt that shrinking feeling in your gut.

JJ redirects. “Would she normally take it off?”

You shake your head quickly. “Not Esther. She loves–” you sigh, annoyed now that you keep making the mistake of present tense. As an English teacher, it hurts more somehow. “She loved that necklace. We all do. We wear it nearly every day. Especially now.”

Agent Hotchner nods again, a really gentle movement that you honestly appreciate. “We'll keep an eye out,” he says. “Thank you for your time.”

You nod back at him, offering what smile you can. “Thanks.”

They leave and you check the time. You'd have to get your kids from lunch soon.

“Did she have anything?” Morgan wonders as Hotch and JJ return.

JJ’s teasing brows bounce. “Other than Hotch’s number? A bit.”

Rossi smirks, leaning across the table. “Did you find something special with our Ms. Hughes?” He puts emphasis on the title so Hotch is fully aware of her marital status.

“Let's focus, please.”

Hotch doesn't seem particularly annoyed, but there is a case at hand and he wants it solved as fast as possible.

Besides, it would be unprofessional to call her like this…asking her on a date after questioning her about her recently deceased.

The team giggles quietly amongst themselves. Children. But they do focus in as Morgan's phone rings as a signal to their resident oracle.

“Talk to me, babygirl.”

“I ran those credit card records like Hotch asked,” she starts. “All of which come up with very different results with no special link but one: three of the five all purchased hiking tickets for a guided trail a few days before they went missing. But they're very popular trails, tourists and families go all the time.”

“Hiking trail?”

“Is that significant?”

JJ looks around at the group. “Ms. Hughes said Esther Cooke’s parents won free tickets. They just went last weekend.”

“That would explain why it doesn't show up on the credit card records,” she says. The clack of her keyboard fills the space before she's speaking again. “Oh, yes, I see. The reservation is written in her mother's name.”

Reid looks up from the board where he worked on his geographical profile. “Clara loved out of state,” he says, “she was visiting. That could be how he found out about her.”

Rossi agrees. “So he's choosing most of his victims at the trail. Maybe he's a guide?”

JJ shrugs, “But how is he picking his victims?” She walks over to the pictures of all the victims hung up, their differences glaring as she shakes her head. “He's compulsive, he can't do it at random.”

“I don't think it is,” Hotch says. Eyes fall on him, urging clarification. “Ms. Hughes said something that stuck out to me. Esther Cooke always wore a necklace with the first letter of her name on it, but it was missing from the crime scene.”

The wheels turn in Reid’s head as he breaks away from his map. He picks up the crime scene photos, sorting through them to compare them to the headshots of the victims lining another board. “We might have something,” he mumbles. He picks up the first victim’s pictures. “Here, you can see Madeline wore a necklace with her nickname, Addy, on it. But at the burial site, it's missing.”

Prentiss catches on, picking another. A quick examination has her nodding along. “And look here. Clara had one, too. Hers is just a C.”

Rossi’s heavy brows furrow. “So you think he's targeting these women based on their necklaces?”

Reid words fly from his mouth as he speaks. “If he's killing them, burying them, and carving their letters all in alphabetical order, that could be his trigger—seeing the letters already in place and feeling the need to make it permanent, perfect.”

Morgan picks up Esther's picture, nodding. “We ready to give the profile?”

“I think so. Garcia,” her attention is lightning quick at the sound of her name, just like her wit, “get me a list of everyone who went on those trails and every guide who has led the ones our victims participated in.”

“That list is going to be longer than the Nile, but like Neith, I shall be victorious,” she declares.

Prentiss adds in. “Go ahead and narrow that down to white males who live in the area.”

“That helps.”

“Thank you, babygirl.”

“Happy to help, my salacious little snack.” She smacks the “ck”. He can hear the smirk in her voice. “I'll have that list in a jiffy.” Morgan chuckles as the call ends.

You plaster a grin on your face as you welcome in the next pair. It's been a long day already. The children have been a little fussy, others just sad, about the changes going on during class. The parents you've seen already have been awkward, annoyed, or (on the better occasion) nice, and you're ready to go home.

Just a few more meetings, then you can go home.

“Hello,” you greet. “Thank you for coming in.”

Ms. Tucker smiles gently, doing her best to be kind. She's one of the more patient parents. Her husband on the other hand… You've never been able to describe him as patient.

“Could we make this quick?” Mr. Tucker asks, checking his watch. He blinks harshly once, twice, three times, before looking back up at you. “I've got an appointment in an hour and…thirteen minutes.”

“Don't be rude, Larry,” his ex-wife insists, rolling her eyes as they take a seat in the chairs set in front of your desk. You sit as well, mentally bracing yourself for his meeting.

“Well, she's bringing us in here to tell us our kid isn't doing well in school. How do you want me to behave?” Another tight blink follows as he whispers under his breath, “Behave, behave.”

Ideally, these meetings should take no more than maybe five minutes. But parents make that difficult sometimes.

“Maybe if you spent more time with Peter, he wouldn't be having trouble,” she insists.

The animosity coming off the two of them is creating an environment that makes you want to kick them out of your room and do what you want. But you can't.

He scoffs. “Spend more ti–”

“Actually…”

They turn back to you then, remembering you're there as they close their mouths and listen. “We're not here to talk about his behavior. Peter has been wonderful in class.”

You grab Peter's file. It's just a stack of papers with Esther's old notes for him and his grades. You clear your throat quietly. “As you may know, the teacher next door to me just passed, and we are rearranging her classes until we can find a suitable replacement because we are short staffed.”

You hate saying “replacement”. These meetings have been hard enough simply because she's gone, but being the one of the people already working to replace her has been mentally taxing.

You pull your necklace from inside your shirt, sighing as you look up at them, toying with the charm.

You don't catch it. The movement is so slight and the whisper is so gentle that the moment goes completely over your head as Mr. Tucker's eyes lock on your charm. Under his breath falls a small, “F…F, F.”

“This conference was just to ask about whether or not it would be alright to transfer Peter into my class,” you continue, grasping the top pages out of the file. “Otherwise, his behavior has been fine. He's a smart boy with good grades. Ms. Cooke’s notes do say that he has a bit of trouble mixing with classes though, and he can be a little distracted. Another reason he would switch, he needs the extra social help.”

Ms. Tucker leans in slightly. “You said he has trouble mixing in?”

You nod, tilting your head as you remember Peter's behavior during your classes. “He's a little lonely.”

Mr. Tucker murmurs under his breath, holding onto the words. “Lonely.” His brows twitch. “Lonely…lonely.” You know they're tics, so you try not to make it obvious that you've caught it.

“He got along well with the teachers, but he's closed off to the other students. She saw that a couple of other kids picked on him, but they were little things that we were able to solve fairly quickly.” You sigh, thinking for a moment. You have to choose the right words, or this will end in an argument. “I would recommend trying to get him into things outside of school. A sport or a club, just something to get him to interact with more kids.”

Ms. Tucker is all ears as you speak, taking in what she can as she contemplates a solution. Her ex-husband seems a little out of focus, however. He watches you, his eyes taking you in, in a way that makes you uncomfortable.

“It also helps when the parents are on the same page,” you push through, ignoring the crawling in your skin and focusing on this child and his needs. “I realize you went through a divorce recently, which can be tough on your son. I know it's not my business to manage your relationship, but for the sake of your son, it's important not to be hostile in front of him. It could force him into thinking he has to choose a side, which can lead to negative effects on his mental health.”

She nods, soaking it in. “We can talk about it. You have our permission to take him in.”

“Yes.” Mr. Tucker nods. You watch his head dip three times. “Yes, yes.”

You sigh internally, glad the meeting is coming to a close. “Thank you,” you smile. “Did you have any questions for me?”

He replies, smiling as well. “No. Thank you.”

“Alright,” you close Peter's file, “then we should be good.”

“Thank you,” Ms. Tucker says. She reaches a hand out to shake your hand, and you take it. Her ex-husband does the same, though he lingers a little longer than you appreciate.

“Of course.”

They leave. You take a moment to breathe before you welcome in the next parents. And two meetings later, you've wrapped everything up. After clearing your desk, you snatch your things and head straight for the door.

You're happy to know it's not too late when you step out of the building. The sun is still up, but the moon is beginning to show with the coming evening. As you make your way to your car in the relatively lonely parking lot, it blinks when you unlock the doors.

You open the back door to throw your things inside, slamming it shut and opening the front in one movement.

You don't hear the footsteps behind you over the sound of your relief about the end of your day. So when something comes down hard at the back of your head, your pain and surprise is interrupted by the sudden darkness that overcomes you.

“You're on speaker.”

Garcia’s voice arises from Morgan's voice like the oracle she is. “Then I shall speak my prophecy for all to hear. I narrowed that list down significantly to the tour guides that lead the trails all of the victims went on—except the one who didn't. Speaking of, it turns out that our odd one out, Dakota Platt, put in an application to work as a guide but was denied. Anyway, I came up with three matches.”

Rossi hums. “Narrow the list to anyone recently going through a major change. A divorce, potential job loss, something like that.”

The sound of Garcia’s keyboard is heard over the phone, her voice coming a second later. “That takes one out. There's Perry Williams, he's just suffered a loss in the family—his mother died of lung cancer four months ago, around when the killings started. Then there's one other, Laurence Tucker, who just went through a divorce around a year ago. He's fighting a custody battle with his wife, started a couple weeks before the estimated time of the first murder.”

“Can you take a look at their medical histories?” Prentiss requests.

“Tucker has diagnosed OCD. He stopped taking his meds at the same time as the divorce.”

JJ is already on her feet as she slips her phone in her pocket. “That's our guy.” The rest of the team follow suit.

“I've just sent his home address to your phones.”

Hotch is packing his things as he speaks. “Garcia, go through his history. There may be something to suggest where he may be taking his victims to torture them. He can't be taking them home.”

Morgan raises the phone to his mouth. “Thanks, hot stuff.”

“Anything for you. Garcia out.”

“Clear.”

At the sound of the last check, Hotch lowers his gun as he sighs. “Hotch.” He looks over to see Reid peeking his head out of a room down the hall. He follows him, walking inside and following his gaze down to Reid’s hand, where he's holding a necklace he's pulled from a dark box on the dresser.

There are four necklaces neatly arranged within it, the fifth in Reid’s hand. An E for Esther.

His phone rings. “Yes, Garcia?”

She speaks quickly. “Our guy grew up in the area and attended a schoolhouse when he was little that was shut down years ago for unusual practices with the students. Reports found that the teachers there used to discipline ‘bad kids’—and by bad, I'm not talking just behavior, these are kids with diagnosed Autism, ADHD, OCD, the whole alphabet. Oh…maybe that wasn't the best word.”

“How were they disciplined?” Reid asks, pulling her back on track.

“Oh, right! The teachers used to slap hands with rulers and spank these children, sometimes with paddles. Sometimes kids would come home with big red letters drawn on their chests or clothes when they received failing grades as a way to shame them into passing.” She hums, “I'm guessing that's where the signature comes from.”

Reid sets the necklace down, “Is the building still up?”

“Like I said, it was shut down years ago. It was marked for demolition, but they never got around to it. The building still very much exists, and it's covered in wooden boards and caution tape.”

Hotch nods. “Send us the address. This could be where he's killing them.”

“Already done,” she says. “Also, fun fact. I learned that Tucker's son attends the school Esther Cooke taught at. Apparently, he was one of her students.”

A chill ran down Hotch’s spine as he thought about that. Scrambling in his jacket, he pulls out the koala sticky note in the inside pocket. “Garcia, I need you to give me another address.”

Reid’s brow furrows at his sudden haste. “What's wrong?”

“Ms. Hughes held conferences today for the parents of children Esther Cooke taught.”

Reid walks after him as Garcia retrieves the address. “So?”

“She wears an F.”

Your bleary eyes are so dazed and heavy. Mixed with the pain, it was hard to keep your head up and your eyes open. The letters lining the top of the walls, the alphabet which wraps around the room, fly around your head. It mixes with the chairs and desks, arranged so neatly around the room, lining the walls like the letters do. There's chalk and pencils and paper, all old and run down but set so neatly. The chaos and the tidiness is maddening.

It really hurts. Your arms and legs are covered in cuts, slow and methodical and painful. Your limbs shake with exhaustion, sweat sticks to your forehead and you feel heavy and sick. He'd removed your necklace. It's sitting on the desk where he keeps the rest of his supplies. You want it back.

His disorder is evident, and it bleeds over you with a glaring taunt. Every time he cuts you, he measures it with a ruler, and then you're thrown through the added torture of him disinfecting the wound each time. He counts it each time. He chants under his breath every time he cuts you, every time you talk, every time he blinks.

You just want to go home.

“Mr. Tucker, please,” you beg for the hundredth time, your plea falling on deaf ears.

He shakes his head, his ruler in the middle of your thigh. You want to move it. If he can't make a precise cut, he won't cut. But you don't have the strength. It's taking a lot to keep your head up.

“Hush,” he urges absentmindedly. “Hush, hush.” He adjusts the glasses on the bridge of his nose, careful not to use his hands.

“Why are you doing this?”

His attention is razor sharp as he measures. “I have to.”

It’s the most answer he's given you so far. Maybe if you just keep him talking, you'll be able to talk him out of it. You keep your voice gentle, trying not to sound as pained as you are. “Why?” you ask, though your voice wavers. “What did I do? What did Esther do?”

The name seems to spark something as he nods three times. “E, E, E.”

Your brow furrows. “Is this because of our necklaces?”

He shakes his head this time. Three times. “You won't understand.”

You sigh heavily. “Then help me understand.”

“You won't, you won't.” He picks up the knife, and you flinch away from him. “You won't.”

You keep trying. “You just have to talk to me,” you give him the best smile you can. “You can talk to me, Larry.” If you say his name, maybe you'll appeal to him. You can make it personal. You have to try something.

He mutters under his breath, as though he's thinking. “Talk, talk…talk.”

You nod, speaking slowly. “Yes. Just put the knife down, and we can talk.”

A scream tears through your throat as he drags the sharp blade across your thigh. It burns and it sears and tears stream down your cheeks at the feeling.

“19, 19, 19.”

You don't know what number he's going to, but you're scared for what he'll do when he finishes counting.

You struggle around the lump in your throat to speak, forcing out a breath to try and level yourself. “Is this about your OCD?” He glances up at you, but he doesn't give it too much thought. “I recognize it. Peter has early signs.”

“Peter,” he mumbles, finally taking pause to think. He hums and blinks.

“Yes, Peter,” you urge. “Your son. If you keep going, you could hurt him.” It's hard to see past your tears, but you keep going anyway. “When you get caught, and you will get caught, Peter will be taken away from you forever. He'd never forgive you.”

“Forgive me,” he huffs, shaking his head and rubbing his face. He grips his ruler in one hand. “Forgive me, forgive me.” He presses the ruler to the other leg, “Stop talking.”

You try to squirm, “Larry– Ah!” You purse your lips to stifle your shout, squeezing your eyes shut and clenching your fists.

“20, 20, 20.”

A round of sobs rack through you. You can't hide the pain anymore. It's so evident, and it's so intense. You can't breathe. You hiss as the disinfectant stings.

“Please,” you cry. “Please, just tell me why.”

He shakes his head. He's upset now, you can see it in the crease of his brow, in the excessive head shakes, in the way he rubs his face so roughly. “They said I have to.”

“Who?”

“My teachers.” He looks around the room, and his eyes fall on the alphabet lining the walls.

You follow his gaze. The schoolhouse actually makes sense now. You thought he'd chosen it because it was abandoned…

“I can't do the alphabet. I have to do the alphabet, alphabet.” He says it like he's reciting something, like he's punishing himself.

Your breath is heavy, you blink rapidly, trying to see past your tear-filled eyes. “Your teachers made you do this?”

God, sometimes you hate teachers.

He rubs at his eyes, sighing heavily. “A, A, A,” he begins, speaking quickly and almost like he's struggling to speak. It reminds you of memorization methods. Sometimes you suggest it to students who have trouble remembering vocab—write it down over and over until you remember. Maybe that's why he's doing it? “B, B, B. C, C, C. D, D, D. E, E, E. F.”

He opens his eyes and points his knife at you. “F. F.”

The fear flares within you again. You try not to turn to a blubbering mess. You can't communicate with him if you can't speak properly. “Is that what you're doing?”

He moves to your arm. You try to pull at the duct tape he's got wrapped securely around your hands. You've been trapped here so long, your hands are numb, your wrists are bruising.

“Have to get to Z, Z, Z.”

You almost shout it when he presses the ruler to your arm. “Listen, listen, listen!” you say it in a rush, so, so scared. He actually stops. “Okay, they said to say it three times, right? You have to write it three times?”

The number triggers his tic. “Three, Three, three.” It's honestly becoming annoying. It's insistent and repetitive and it feels almost invasive. But you have to be patient or he'll just kill you faster.

“You don't have to do this.” Your face is itchy from the tears drying and re-wetting, but you can't scratch. “You're gonna be okay.”

He's not listening anymore. “Behave,” he warns, holding the knife to your face. “Behave.” He shakes his head. “Behave.”

He's stopped listening. Despite your screams, he measures and cuts and cleans and measures and cuts and cleans, repeating each number as he comes to it with calculated method.

You clench your fists as the knife digs into your thigh again. You're surprised you can get your broken cries out as you struggle to breathe.

He stands up, taking large steps back to look at his work. You suppose he's almost done, and that terrifies you.

You think about your students, the little kids in your classroom who have already lost one teacher and are now going to lose a second. All those good kids are going through so much already. They all loved Esther. You know they all loved you. You have a wall of art, holiday cards, and plenty of hugged legs to show for it.

You don't want to lose them. You don't want them to lose you.

In a last ditch effort to dissuade him from his pursuits, you shake your head and sigh heavily. “Please.”

He comes closer to you, squinting his eyes to try to ease you. “Shh, shh, shh,” he says. “Just close your eyes. It'll be over soon, soon, soon.”

He presses the ruler to your neck, and you don't have the strength to fight it. It inspires more tears as you shake your head weakly. “Please, please, please.” You chant it, closing your eyes shut. You brace for the end…

Both of you jump when the loudest crash resonates within the room. Wood splinters and heavy boots stomp against the floor. Startled, he staggers back. You open your eyes, lights flashing as the room crowds with armoured people.

“Laurence Tucker, drop the knife.”

You know that voice. You recognize it. It's hard to see past the lights and the tears in your eyes. You know him.

“Can't! Can't. Can't, I have to finish. I have to finish. I have to finish.”

He's panicking. Too many things happening at once, everything out of order, everything out of control. He grips the knife tighter, looking between you and the cops in the room.

Someone else, their voice louder and less patient, shouts. “Drop the knife now!”

“Behave, behave. Behave!”

Someone else's voice, softer and somehow understanding, speaks. Though the voices are beginning to blur. “We know what your teachers did to you,” he bids. “We know how they hurt you.”

They hurt him.

He shakes his alphabet, losing it over the chaos. His frustration is palpable. Every time they speak, he gets more and more angry. “Can't do the alphabet. I have to do the alphabet. I'm supposed to do the alphabet!”

“Larry,” you speak, your voice hoarse from overuse. You catch your breath, keeping your voice level. Like you're talking to one of your students. He's scared, he's angry. He needs patience. “Larry, look at me.”

You can practically feel the concern of the agents rolling off of them. They don't want you misspeaking and making him more upset than he already is.

But he looks at you, and he seems to respond to the softness because his furrowed brows shift very slightly, his anger turns to some semblance of fear.

Although it hurts, you try to smile. It's taking so much to lift your head, even more to get the words out without the heaviness of your rising fear and exhaustion.

“They were bad teachers.” He rubs his face, but you press on, speaking slowly. “They weren't supposed to hurt you. Teachers are supposed to help. They were wrong.”

He closes his eyes. “They were wrong,” he whispers, like he's trying to convince himself. “They were wrong, wrong.”

The desperation seeps in. “Let me help you,” you whisper. “Let them help you.”

“Help me,” he mutters, his voice as quiet as yours. “Help me, help me.”

The first voice, the one you know, he speaks again, patient but still an order. “Drop the knife, and we can help you.”

“Help me,” he whispers. Slowly, he moves as he contemplates the words. “Help me.” They raise their guns in alarm, but he keeps crouching until he's finally kneeling on the floor. He grips the knife. “Help me.”

“Just breathe, Larry,” you huff. The spark of adrenaline you'd gotten from your rescue is wearing off again. You feel like you might pass out. “It'll be okay,” you mutter. “It's going to be okay, it'll be okay.”

He stares at the floor, thinking. “Okay…okay,” he drops the knife, and it clatters to the floor. “Okay.”

They make quick work of cuffing him, forcing his hands behind his back as the metal clinks against itself.

An agent immediately rushes to you, and you immediately recognize him, just as you had his voice. Agent Hotchner kneels before you, carefully removing the duct tape around your wrists and ankles. “Are you alright?” His voice is so soft and gentle. You lean into it as your eyelids become heavier and heavier.

“I think I'm gonna pass out.”

Your voice is scratchy when you speak. He looks you over, and his hand comes to press against your cheek. It's oddly intimate, though you know it's for comfort. You lean into the warmth. It's helping.

“No, you won't,” he says as he removes the tape wrapped around your middle. “I've got you.” He glances behind him, throwing his demand over his shoulder. “Get me a medic.”

He turns back to you. “Can you stand?”

You want to say yes, but you genuinely don't think so. You shake your head, “I don't know.”

“Do you want me to help you stand?”

You nod, the movement choppy. “Yeah.”

“Okay,” he says. He wraps his arm under yours, lifting you slowly, carefully, like you're fragile and precious. “Can you tell me your name?”

Your words are sticky and slow. You genuinely think you're going to pass out. “You know my name.”

“Yes, I do.” He nods, and when you glance up at him, he's giving you the gentlest smile, and you feel like everything is going to be okay. “Can you make sure I have it right?”

You hum. “Fawn Hughes.”

You're so discombobulated that you don't even give him your birth name, instead the one granted to you since you were little.

“Fawn,” he mutters. “Is that your nickname?”

You nod, slowly, and hum.

“It's nice.”

The both of you make your way as he helps you hobble out of the schoolhouse and into the evening air, past golden hour where pinks and purples coat the sky. It goes a little faster when the medic finally arrives. They help you onto a stretcher, and Agent Hotchner apologizes every time you whine at the pain.

When you're settled, he gives you a gentle nod. You grab his hand before he can turn to leave, hoping he doesn't notice the way you wince and knowing he does. “Thank you,” you mutter.

He sighs gently. “Don't thank me.”

“Thank you,” you say again, a little more insistent this time. You swallow thickly, the falling adrenaline increasing the solemnity as your exhaustion begins to crash down on you in waves. You're surprised when you feel a tear slip down the side of your face, disappearing into your hairline. You'd cried so much already, you weren't aware you still could. “He was going to kill me. If you hadn't come through, I'd be dead. So thank you.”

He looks down at you, nodding gently, the movement almost imperceptible. “You're welcome.” He glances at the medic, and then toward the ambulance waiting for you. “They'll take care of you.”

You didn't want to ask, but the need is too strong. You're so scared, and he's the only one here you truly trust. Besides the fact that he'd come to your rescue, you don't necessarily know why.

“Can you please stay?”

He thinks for a moment. Really, he should be here helping the rest of the team. But as he looks over, locking eyes with Rossi talking with Prentiss, he looks between the two of you and sends him a nod.

Agent Hotchner turns back to you and nods. “Yes.”

You want to thank him again, but you know he'll just tell you not to. As they load you into the ambulance, he holds your hand, and you lay back and answer the medics questions.

“Mom, I'm fine.”

You sigh, as your mother's worried voice rises from the other end of your phone. “You were kidnapped and tor—Shit!—tortured by a deranged serial killer. I have a right to be worried.”

“Well, you don't have to be. I'm okay. See?” You show her the bandages wrapped around your arms. “Patched up and healthy. Doctors say I should be out of here tomorrow morning.”

“We'll be there by then.”

“You don't have to come down.”

“Hush. We're coming down, and you can't stop us. I love you, and we'll see you in the morning.”

She hangs up before you can respond. You shake your head and sigh, setting your phone down. At least you know she was worried about you.

You glance up when you hear a knock at your door. “Come in.”

The door opens as Hotch steps inside. His face is gentle, though without a smile. You miss it in a way as you offer your own.

“How are you feeling?” he asks, his voice just as soft.

You take in a breath. “Okay,” you say. “Considering.” You motion to your phone on the bedside table. “Got off the phone with my mom, she's…already on her way from out of state.”

He closes the door gently behind him, sitting on the chair beside your bed. “She's worried about you.”

You nod. “Yeah, I know.” You sigh, glancing over at him. His eyes are on you. Your lip twitches, fighting a bigger smile. You clear your throat. “Doctor said I'll scar, but…the knife was so sharp and steady enough that they should scar fine… They're discharging me in the morning.”

“That's good.”

“Yeah.”

Honestly, the quiet is nice. You look at him, at the features of his face, the softness mixed with his professionalism looks good on him.

“We retrieved this from the schoolhouse,” he says, reaching into the inside pocket of his suit. He hands you a necklace, your necklace. You smile gently, reaching out for it as he places it in your palm.

You're going to have trouble wearing it for a while, but it's nice to have it back. You look up at him thankfully.

“We also found this at Tucker's house.”

He hands you a second necklace. It's identical to your own, except this one has an E…for Esther.

You swallow the rising lump in your throat. Your smile aches as you breathe through the tears threatening to well in your eyes. You look up at him, your smile trembling as you hold back tears you've already shed. “Thank you.” He nods, smiling very briefly. “I'll, uh…I'll get it back to her family.”

“I'm glad I could help.”

Another comfortable silence falls over you. You tilt your head as you look up at him, wrapping the necklace around your fingers as you think. Something's on his mind.

“What is it?” you mutter.

He contemplates for a moment before he speaks. “Can I ask you something?”

“Yeah.”

“How did you manage to talk him down so well? You seemed so…calm.”

You look down at Esther's necklace, thinking for a moment as you shrug. You speak slowly, clearing your throat as you rub the thumb of your free hand along the white bandage on your forearm.

“He told me his teachers made him do it.” You close your eyes and take a steadying breath, the events of the night before too fresh to ignore. “That agent…said his teachers hurt him, so I treated it like an abusive parent situation. He just needed someone to be on his side.”

You hate that it had to be you, but at least you understand why he did what he did. You almost hate that you understand. “He was hurt as a kid. That kid needs to know he's not alone.”

Hotch thinks about that, nodding gently. “You're a wonderful teacher.”

His words are genuine. It warms you and puts you back at ease. “Thanks.” You smile at him, his little one reflecting back at you. “I guess I'll just have to figure out what to do with myself until they let me go back to my kids.”

A tiny chuckle escapes him. It's a good sound for him. “I think the children will be fine.” You chuckle as well, the sound of his laugh a contagious thing that you can't help.

He glances over his shoulder, out of the open blinds of your room to see Rossi standing in the hall. Hotch’s smile simmers down as they make eye contact. He nods, standing to his feet with a sigh.

“I have to go,” he says, almost regretfully. “Get well soon.”

You turn your palm up as it rests in your lap, wanting to reach for him but not wanting to seem desperate. “Thank you.”

“You don't have to thank me, Ms. Hughes.”

After a moment, Hotch turns toward the door, placing his hand on the handle. “Agent Hotchner?” you call timidly, your heart thumping in your chest and your palms clammy. He pauses on his way to the door, turning back to you with a gentle look.

You clear your throat, dipping your head and trying not to seem as nervous as you feel. You almost died. If that didn't tell you how short life is, you don't know what will. Asking wouldn't hurt.

“I know you're probably busy and all, but…” you lick your bottom lip, summoning the courage to look him in the eyes as you smile nervously. “Would you like to go to dinner with me sometime?” You think for a moment, “I'll stop thanking you so much if you do.”

Since meeting this man, the smile he gives you is the largest you've seen on him. It summons your own beaming grin as he looks at you with cheeks you swear are tinted pink. He chuckles gently, taking a couple slow steps to you as he nods. “I would love to.” All the weight of your worries lift from your shoulders with a sigh. “Please, call me Aaron.”

Your cheeks warm at his gentle affection. You have to clear your throat to speak. “Okay, Aaron,” you say. “But only if you call me Fawn.”

Another tiny chuckle comes out of him. “Where did Fawn come from?”

It’s a genuine question, an innocent curiosity you're happy to sate. “I used to be obsessed with deer as a kid. The nickname stuck,” you say with a shrug. “Some people think it's stupid, though. You can call me by my–”

His interruption isn't rude. In fact, you have to fight the urge to hide your face away as he says next, “I'm looking forward to that dinner, Fawn.”

You smile. “I'll hold you to that.”

Aaron gives you one last smile, saying a soft goodbye as he leaves the room to join Rossi, who gives him the biggest smirk he's ever witnessed.

As David opens his mouth to say something, Aaron stops him immediately with a raised hand and an annoyed grin on his face. “Don't.”

David raises his hands in defense, walking silently next to Aaron to join the team.

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