#she doesn't know how to spot her own kin anymore

[nyf-archive]

@insearchofstory asked | ❝ i just….need some air…clear my head. ❞

"Sure, no problem, dear. I'll make sure your drink is safe." Nox smiled softly at the other, watching as he moves towards the door. She puts his things behind the bar with one of her other workers before leaving and walking to him. Her form shifts from that of her changeling skin to a more normal looking half-elf girl and follows after him to make sure he doesn't fall unconscious or anything.

"Easy does it, lad...I can help calm your nerves if need be...bard by trade, healer by nature and all..." She speaks softly and pats him on the back softly. "I know my appearance can be ghastly, but I hope I didn't scare you." Nox chuckles. She had shifted inside when speaking to one of her customers who had asked her about who to speak to in the bordello area of their establishment. It was normal for her, second nature. But some people found her and her abilities appalling.

[bearsinpotatosacks]

If anyone wanted to know the ideas I have for the Bear, here's the list so far

Current WIP: Richie, after everything failing and falling apart in s3, after how tired he is, and how he thinks he's alone, spirals. Syd's leaving, the Bear gets a bad review, Jimmy pulls the funding and it's looking like they’re going to close. He can't take losing everything again, he can't take being the one to put everyone back together again.

So one night, he writes everyone letters and tries to end his own life. He ends up calling the paramedics and we see the immediate aftermath of Tiff getting the call as she's next of kin, her telling Frank, telling Eva and telling the staff of the Bear. The staff trying to visit but Richie only letting Nat in as she knew the most about how tired he was and how alone he felt. Very angsty, also abstract at the moment as I'm writing particular scenes but am finding it hard to connect them

A follow on from this is: The Bear closes and most people move to the new restaurant, or the Bear reforms as something new. Richie and Jess start dating. She unlocks a hidden side to Richie that even he didn't really think about, his more submissive side that likes someone else taking control, likes just doing what he's told and getting praise, likes things getting rough because he trusts her. He gets a massive bruise on his neck when they go a little further than usual and everyone’s concerned. He ends up embarrassingly having to tell people he's a kinky bitch

A more fleshed out idea: Richie and Syd are closing up when he spots someone about to break in. He hides Syd in the walk in and faces the intruders who hit him around a bit, try to rob the place, then smack his head against the bar when he tells them there's no cash on the premises (something tells me people pay beforehand when booking or they're card only). He tries to fight them when they get distracted but ends up being shot and they run away with his phone. Syd's been messaging Carmy, who rushes back to find Richie unconscious and Syd in the walk in. Richie goes loopy with blood loss as they try to stop the bleeding and keep him awake, awakening Carmy to their secret relationship. They get him to hospital, he has surgery, and there’s a lot of talking done while they wait for him to get out.

And a new one from today: Syd returns to the Bear after realising that Shapiro's offer is good on paper, Carmy becomes a hands off boss to let himself heal. Syd and Richie start dating, 2 years later they go to the James Beard Award Ceremony as they were nominated, she forgets her birth control snd ends up pregnant. A few fics follow her realising she wants the baby, them telling her dad, Nat, Carmy and Tiff, them telling the crew at the Bear when it's getting hard to hide as her chef blouse thing doesn't fit anymore, her and Richie arguing over names, her having an induced labour and c-section that goes wrong and ends up with her needing an emergency hysterectomy, people visiting after the birth, and the baby's christening

Then some more brief ones

Richie gets ill and people look after him, wrote about this here

Richie’s parents visit the Bear, wrote this post about it pre-season 3 so there's some adjustments but it's mostly the same

A follow on from the fic I posted where Syd tells Carmy about the offer, starts having a panic attack, Richie calms her down then has a massive argument with Carmy where he reveals a lot of personal shit that he's never gone into from the last months of Mickey’s life to Carmy showing up at the Bear

Richie gets Syd over to help him batch cook and they fuck about it

Syd helps cater Eva’s birthday party and has to dress up as a princess so comes in as Tiana, Richie's wearing some fake alligator suit as the alligator from the Princess and the Frog

[mintytealfox]

//slides in here You want Alicenort headcanons I have come to deliver (fun fact I am the same anon that sent the word vomit of Alicenort stuff and the Golden Canary headcanon so le boo fhdjsk)

Enjoy reading.

A headcanon I hold dear to my heart is the fact Norton kind of follows Alice around a kin to a lost puppy (yes, even his hunter form, yes it has spooked her) sometimes. No one knows why, and when pressed about Norton will just tell people to shove off (lol).

Another headcanon I have is Alice and Norton together. Be like trapped in the manor forever idea or the fun idea they escaped together, Norton helps Alice out. Alice is the one person who Norton doesn't mind helping because she gets him. Sure, Norton will still be an ass about it sometimes, but its more of a playful teasing ass that Alice would and can play along with. Plus the two are a terrifying combo together. Norton is the brawns and cunning street smarts while Alice is the book smarts and detective skills. They get into a lot of mischief together, even with Norton's hunter form throw into the mix. Examples of this are: Norton and Alice going off the beaten map and exploring, maybe him lifting heavy stuff up for Alice to squeeze into to find something or lifting Alice herself up into vents. Or Alice knowing the ins and outs of the manor well, so she knows how to sneak around and teaches Norton all the passages it holds so he can move around quickly.

Adding to this too, while they work well together, they also know when to let the other go and do their own thing since it can and WILL get results. Even if the other has to clean up after them.

Also a bonus headcanon thats not 100% Alicenort related, but kind is near the end headcanon: Norton owns a hunting knife that he has on person 24/7. Has this resulted in him stabbing hunters? Yes. Has this also resulted in him stabbing his fellow survivors? Probably, maybe, okay only when he is very out of it and they spook him (fight of flight response and Norton screams the fight response). Alice knows about this and usually calls out to Norton to makes her presence known when he is like this.

yyyyeeeeeeEEESSSSSSSSSSSSSSSSSSSSSSSSS Welcome BACK 🤣👏👏👏 I am thoroughly enjoying what my eyes are seeing here 👀

The image of massive rock man slowly following Alice around like a giant duckling LOOL The 'not like I care about her or anything' vibes have me laughing lool "Alice fell down" (she didn't) Fool's Gold: "SHE WAHT" -looks at the camera- "told you he cares about her"

GOSH YES! He strikes me as someone who doesn't accept help anymore because he is waiting for the price or strings that follow or just the rejection (he will take free stuff though lol). So to have this reporter lady just helping him cause she wants to is likely so wild at first. Able to spot what he likes or needs and is a step ahead with helping him cause she knows he will wait too long or just never ask lol -out on the field trying do get out the gate- Norton: "Okay I need to get--" Alice -places the exact tool he needs in his hand- Norton: ......💞🤌🤌

Alice could 100% handle him lol Good for her honestly 🤣

Oh my gosh YES! This dude has hella strength. Like, this dude can handle working in the mines with his lungs barely working and still lugging around rubble and whacking through it all with a pickaxe, with very little food fueling him. This dude lives on ambition and spite alone ah Then Alice over here seeing stuff like 'that bird is a particular shade of blue so that means we are near this place where something crazy happened' and running right towards the danger as Norton has to run after her. Her getting them involved with so much garbage loool but they have been through so much in their lives that honestly why not, by this point 🤣 LOL the image of them trying to break into a business, (to get the sussy documents so they could have the proof that the business is corrupt and have them close down), and Norton lifting up Alice so she can slip through the window LOL Alice: "do I weigh anything to you?" Norton: "no, its like holding a couple of grapes"

Gosh yea, them knowing each other's strengths and weaknesses like the backs of their hands. 🤌🤌🤌🤌

He is a fighter FOR SURE 1000000% Feral Norton has my heart feeling the ouchies for him and Alice needing to act accordingly owww oowww

AHH THANK YOU FOR THIS FEAST AAAHHH 👏👏👏👏

[noirs-pages]

Raizel 1

Summary: Raizel meets a creature donning the skin of a human. From the deep sea to this ocean-locked land, you asked him a question.

(Nobody can escape Eldritch Reader. If I can, I will make it. Because I can, so therefore I will. Also I really didn't like the last third of the story. Too many fights. Too many loose ends that were never tied. Oh well. My writing, my world, my oyster.)

Nothing more than a suspicion, a rumor told to Raizel through the lips of the ever talkative Lord who so enjoys the gossips of the humans in these vast territories.

"'A calamity will be upon our shores' a fisherman once said, 'the sea, she whispers rather than roars. Something has her scared and I don't think I want to be anywhere near what it spits out. I'm taking my family and going.' Humans instincts are certainly interesting, don't you think?"

He never stated if it was a false rumor nor dismissed it as a humorous tale. Humans are weak, fearful beings with an inner strength that simply doesn't match their bodies. If they could, well what use would the nobles be? The purpose ingrained in them since birth would be denied at a such a thing, and Raizel can't think of a better way to go. A world of humans that simply don't need them anymore, a world where the shackles upon his being, upon the nobles that he silently protects, broken to do as they pleased.

Such a place does not exist, not at this moment. Perhaps the day will never come.

Humans gossip and share so many stories and fables. To the older nobles, they're laughable, but to those even older, to those ancient, they know how very real these tales are to the weaker beings. Truth can be dissected from the false and it is his purpose to watch, wait and discover the truth that many others would rather turn a blind eye to.

And so here Raizel stands, upon the white-gold sands that welcome the gentle ocean as it barely touches the tips of his shoes. There's not a single human in sight. The winds carry not a single whisper of their presence, however, it was not alone.

You were there, sitting on a wooden dock who's legs have long been eaten by the salt of the sea and by time. A well used dock that had witness to many a maiden voyage. A dock on the verge of collapsing, all it would need would be a strong wave. And yet there's not a single ripple of movement in the water around you. A perfectly silent sea, a makeshift pond, surrounded by an ocean that roared and rains that cut.

This spot could've been a paradise for the wind-chilled, but to Raizel, it reminded him of his own home. Many would call him a fool for walking and standing besides you. The Lord would join him with a gentle smile on his face. He's always so jubilant towards him and the other nobles while so gentle at the mention of humans.

Raizel also has a feeling he would still be gentle, even at beings that pretend to be human.

You didn't turn around, eyes empty of human understanding gazed into the horizon beyond.

"How do I tell them?" you asked, an arm resting on your knee, "How do I tell that cluster of humans, that 'family,' that their kin was consumed by me?"

"…why would you feel the need to?" This remark was not meant to sound callous. It's simple curiosity. A test, of sorts. In all his long life, Raizel is not ignorant of the monsters that may crawl in nature. To an extent, Raizel always felt there was something lurking just beneath his vision. However, Raizel was not a fighter, he was a guardian that turns into one if need be. He will not shun a guest, unless their intentions are less than neutral.

"…because this human deserves it." you touched your own face, as though missing the warmth it once held, "because the family that raised this human deserves it. This urge is weird. I'm not familiar with such feelings that are not hunger. And the cold."

And who was he to ignore someone that suffers in their loneliness?

[tea-with-eleni]

Child of None

I've played through a Dark Urge run once already, but I've done a much better job of resisting the Urge this time through. I'm actually quite surprised at how my emotions responded to some of the resulting story beats. I also intend to write something to explore the death of Gortash, since it seems a bit unfair that the Dark Urge doesn't get a chance to mourn someone who was, at the very least, a friend.

You feel yourself falling apart. You sink to your knees. The slayer, that horrible creature, whatever was left of Orin, is gone. There is only gore and, winking faintly from the pile of viscera, the buried form of your dagger. The one you think Enver must have made for you, to hold your netherstone. You recognize it, now that you see it up close.

You want to scream, to cry, to laugh, to moan. You feel the hot, heady, ecstatic rush of your killing urge and you yearn to dig through the mass of organ meat to find your blood-kin’s heart and hold it aloft for your followers to see. You know yourself well enough now, though, and you know you are not your urge. The part of you that doesn’t belong to your father wants to find Astarion, to hold on to him, to grieve the only mortal family you had, and to cry until you are empty.

You do not get the chance to do either. Your father wants to reward you for your victory.

From the moment you woke on the nautiloid, you have feared and fought the voice of unspeakable darkness in your heart. You don’t know if you ever tried that before. You don’t know if you were a sweet child once, flowers in your hair, joyous with whatever foster-family you had, or if you were always your father’s blood-soaked daughter. It doesn’t matter, in the end. You can’t remember your childhood. Your blood-kin stole that from you, the same way she stole everything else and sealed her own fate. You would have died, before, had you fought the slayer.

Were you ever the slayer?

You hope not. But now your father wants to give you that form. No, not give — you could perhaps refuse a gift. You’re not sure you can refuse this and survive. You’re not sure you want to survive. You don’t remember much of what you had before, but you suspect you loved. You suspect you loved Orin, in your way. Why else would you have left her alive? You know you loved Enver enough to beg forgiveness from your father. You found the letter, written in your hand. Your father has answered your once-desperate prayers at last, now that it gives him a chance to bring you back under his control.

You cannot become the slayer. You cannot accept his gift. Whatever the cost, you cannot return to him. Not anymore. Not after all you've gained. Not after what you've become.

You look to find any eye you recognize, any of your precious friends. You spot Shadowheart. Her pale hair stands out easily in the gloom of the temple. You reach for her mind with a final desperate apology. She nods. She understands defying a god. Lae'zel, behind her, inclines her head. She understands as well. In this, you are all the same.

Aloud, you whisper, “No.” Then, louder, the words ripping from you, “No! I would rather die than belong to you!”

You hear rising cries from your cultists, your faithful, the ones who all but knelt at your return. It is all you have time to hear before you feel your father's punishment. He tears into you, knocking you back. There is blood everywhere, so much blood. Blood from your eyes, your nose, in your lungs, rising from your skin like a fine mist. It is agonizing.

The only mercy is that it is also swift. Your heart cannot beat for long without your father's curse blood. It is mere moments before you slump to the stones before the altar: another dead bhaalspawn, sacrificed to their wretched father.

The killing urge is silent at last.

So are you.

At least, until you are not.

You can’t blame yourself for failing to place the skeletal avatar that has kept to your camp for weeks. For one, you were nearly an empty shell of a person, a woman with no past and a future likely full of pain and tentacles. For another, your father and the other dead three usurped his role in the cosmos. His worship dwindled. But although the world has forgotten much of his lore, the scribe of the dead still seems to have an interest in the lore of the world.

He has come for you. Unlike your father, his presence is calm. The part of you that was your Urge thrums like the string of a tiefling’s lute. You almost want to rest, but the scribe of the dead is insistent. You are not done. Not yet. Whatever you are, he has some right to your soul, some kinship, and he will not let your father end what you have become.

You choke as your lungs seize and your heart beats and beats and beats.

The Scribe’s ancient gaze is gentle. Any pull he has on you after this will be so much kinder than what you felt from your father. Your vision blurs. Are you crying? Have you ever cried before? You don't know.

Child of none, he calls you. Did you have a name before? All you have remembered is what you are. What you were. Bhaalspawn. The Dark Urge. Unholy assassin. Murderer.

You are not those things anymore.

You are someone new. Someone free.

Perhaps you should take a new name now.

[lihikainanea]

Bill wakes up in the the night and Tiger is gone. He searches for her around the house but she's nowhere. He panics. He calls her, she doesn't pick up. He grabs his keys and makes his way out the front door. He's about to get in the car when he sees her. She's there, calmly walking down the sidewalk back towards his house. She's smiling as she gazes at the sky. She loves stargazing on a clear night. Adores it ... but Bill needs to have a chat with her about taking off like that lol <3

Ohhhh, ohhhh how I feel this in my heart.

Tiger--she’s a woman of the stars, you know? Bill is not at all convinced that she’s not actual magic in some way, because let’s face it--Granny was magic, and tiger? Tiger is all Granny in so many ways. Granny used to gaze at the stars like this, whenever Bill stopped over for tea. In the crisp Autumn air when it was still warm enough to sit outside but with a sweater, when it got dark much earlier, Bill would stop by for tea and Granny would set up a small table on the balcony, shut all the outside lights off, and just gaze up. Granny taught Bill about  Orion, about the stories behind it. She taught him where to look for it, and when he was in Sweden thousands of miles away from her and from tiger--he found himself looking up for it, searching for it in the sky.

And tiger...tiger has always marched to her own beat, you know? Even more so when she lost Granny. Bill knew--and he still knows--that when tiger misses her a lot, when she feels like she needs to feel her or hear her again--she goes to the sky. It’s not uncommon for him to wake up and for tiger to be out of bed, maybe on the balcony, wrapped in a blanket and gazing up. When they’re out late at night he’ll catch her with her face tilted upwards, looking for Orion. Bill always knows to be extra gentle with her in those times, because he knows how much she misses Granny. God, he knows how much he misses her, so he can only imagine for tiger.

So like, look--sometimes tiger is out of bed, but she’s never actually gone. And maybe one time--maybe she’s just been having such a hard time missing her--maybe one time, she really is gone. Bill wakes up and tiger isn’t in bed, she not in the house, she’s not on the balcony. Her phone is gone, and a quick call leads to voicemail--Bill is irritated, because tiger’s phone is always on silent. He tries a text, but no response. They kind of just automatically have the other’s location activated, mostly because tiger sometimes gets a little too tipsy to articulate where she is, and Bill is fond of the odd blackout drunk night where he also has no idea where he is--they just agree it’s safer that way. A quick lookup tells him she’s only a block away, so he pulls a shirt on and heads out.

And that’s how he finds her, you know? On a park bench in the only spot near them that doesn’t have any street lights, a spot where the sky can be seen a little more clearly. She’s still in her PJs, her face tilted up--and Bill is ready to give her a little scolding about leaving in the middle of the night without telling him anything, but then he sees the tear tracks on her cheeks, and he stops. Instead, he approaches slowly and just takes a seat beside her.

“I can’t see it,” she mumbles eventually as a fresh batch of tears wet her cheeks, “It’s not there. She’s not there.”

“Can’t see what, kid?” he asks.

“Orion,” she chokes out, “Bill, it’s not there.”

Bill looks up, scanning the sky--but he can’t see it, either. 

“She forgot about us,” tiger says, “Maybe we made it seem as if we don’t need her anymore.”

Bill turns his gaze back to the sky, but unlike tiger’s reaction--he cracks a small, knowing smile. It’s ironic, it’s a little challenging, but it’s full of love.

“Do you really think she would believe us, kid?” he asks, “That we didn’t need her? We’re a train wreck.”

Tiger doesn’t smile, but she does give a sardonic laugh through her tears. Bill swipes his thumb across her cheeks, pulls her in close.

“We’re her favourite train wreck,” he says, and tiger does smile at that.

“It’s usually out here when I look for it,” tiger murmurs, “She’s usually out here when I look for her.”

“And she’d be the first to tell you then maybe you should change the way you’re looking, dumbass.”

Tiger narrows her eyes and glares at him.

“Her words,” he defends, raising his hands in surrender. He has a point. Granny called everyone dumbass.

Tiger lets out a loud sigh, closing her eyes as a soft wind whips by them.

“She’s here kid,” he reassures with a kiss to her cheek, “She’s everywhere you need her to be. She’s always with us.”

“I just usually....see her,” tiger says, “And I feel like I haven’t lately. And I miss her.”

Bill just reaches a hand, taps softly on Granny’s locket around tiger’s neck.

“Maybe stop looking everywhere else but right here,” he says, “Tiger, there’s so much of her in you. If you keep looking for her everywhere except within you, her own kin, her beloved granddaughter--man, kid. The fury she will unleash.”

Tiger laughs at that, and Bill steals a quick kiss from her lips.

“Do you want to stay out here a bit longer?” he asks, and she nods--but she hesitates.

“Do you want to stay out here alone?” he offers, and tiger bites her lip and nods sheepishly.

“I’ll be keeping an eye on you from the window every now and then,” he says as he rises and steals another kiss, “But take as long as you need. I love you, kid.”

Another kiss, and then he looks skyward.

“And I love you too, troublemaker,” he says.

He turns to walk back to his place, casting another glance at tiger over his shoulder--but her gaze is back fixated on the sky. He sighs, crossing the street--and right as he passes under a streetlamp, the light gives a sudden jolt, a small clap--and then fizzles out to darkness.

“I know,” he smiles wryly as he gazes up at it, “Hell on wheels, just like you.”

[zuffer-weird-girl]

You guys really thought that I would create a family for my husband to simply end like that? NO WAY IN HELL wait, hold on, you guys cried?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Everyone who passed even a centimeter close to the yakusa house felt a strong wave of hatred and sorrow, so imagine the ones who were living on there....

It has been already three days since the fight with Endeavour that killed the yakusa boss's, Overhaul, wife. Not his coomurates neither the heroes could find the body, not even allowing him to make a decent funeral...

Chisaki was numb yet so full of rage... But he couldn't just lost his guard now like he had when he received the news, breaking down along with his two children on the floor...

Kai left his office, not having the strength to ented your shared bedroom, eyebags equivalent to shinsou's or even worse, and found his teenager son staring at the coffee table, in his (E/C) didn't show any hints of any emotions... he was just sitted there, with his forearms resting on his knees. While his younger daughter found herself just laying on the couch staring at the ceiling with red puff golden eyes...

He didn't know which hurted more to look, Kaito who carried your eyes or Kin which even though licked both his hair and eyes had the same facial expressions as yours...

"You two need to hydrate or at least eat something. Unless you want to..." he stoped on his tracks noticing his brute words and how it could affect them.

While Kin nodded and lift herself just to grab a cup of water, the little girl seemed to drag her feet along with her, Kaito didn't even moved a muscle.

"Kaito." Said sternly Chisaki, earning a death glare from his son.

Two could play the same game.

"Go. Eat something." He pointed at the direction of the kitchen and his son scoffed.

"I thought you were already planning that bastard's death instead of being around here." Mumbled the young man.

Chisaki eyes darkened as he glared down at his son.

"Those things can't be done without an actual plan. Unless you want everyone on here arrested or even worse." He growled.

Kaito seemed not even woried about the way his father was acting as he sighed annoyingly and went to the kitchen.

The atmosphere between the three was tense... Kaito seemed to lost all that angel part of his, while Kin didn't even say a word after her outburst...

He himself wasn't one to talk, he was impatient, more aggressive with his subordinates and even got into a few arguments with his older son.

He really was trying to control himself since it was his child over there, but the way Kaito always seemed to bring that topic up seemed like he had just stroke a nerve on him with a scolding needle.

He arrived where his two children were and found Kin just staring at the cup in front of her on the table with her chin burried on her tiny arms... He went to her and apprehensively patted her head, it wasn't going to change things he knew but this was better then watching his daughter im this state.

Kaito himself took an angry bite of an pre made sandwich as he leaned on the board. Chisaki arched an eyebrow at him which only resulted on a annoyed shrug from the boy.

"You didn't want one Kin?" The little girl shook her head.

It has been three days... and he couldn't di this anymore.

How was he supposed to raise two childs on his own? And most importantly, after one of them saw you moments before dying while the other was just too young to take it well the news...

"Dammit..." he whisper to himself feeling his eyes start to burn.

Kin got up from her chair and made her way out of the room quietly. Leaving both Kai and Kaito alone on the room again.

"I want to kill him." Kaito said while Chisaki sighed in annoyance, pitching his covered nose.

"He is the top one hero Kaito. You can't do that without a plan." He growled.

"Well, at least I want to do something instead of letting the man who killed my mom walked freely on the streets. Different from others..." Chisaki slowly took his hand away frrom his face as he sended a one eye death glare at his son.

"What is that supposed to mean?"

"Why aren't you doing something? Many people died because of you, but now when a hero kills your wife you just stand here? I find this quite... wrong."

Both glared at each other before Chisaki spoke, his words sounding like venon...

"Listen, just because you are in pain, it doesn't mean that you can just threw away the damn respect that me and (Y/N) taught you. Second; you're just a spoiled irritading rascal who thinks that could do a better job than me who worked on the yakusa for years already? Did you want it to make me laugh?" Kaito's confidence completely dissapeared at seing the way his father was looking at him, especially hearing the tone of voice he was using.

"I understand your point of view son of mine, but have you even thought about being on my shoes? I spend more than your age on her side and you have the audacity to even mentioning that I wouldn't do nothing to avenge her death?" He punched the wall near him, making it crack slightly.

"You're NOT the only one who misses her and want a damn revenge, understand that?!" He shouted making Kaito jumped on the spot. Chisaki was never one to yell, but when he did it was just as scary as the death look he gave it sometimes.

"Dad I-" he tried to apologize as he saw his father covering his face.

"Get out." A simple command, and just as fast as he sayed his son left the room.

Kai hadn't look on Kaito's face since then... it was already night and the two didn't even bother to look at each other.

When Kai was trying to concetrate on making strategic paths to the number one hero agency he heard a loud scream of his daughter, which seemed to be coming from outside.

He already thought the worst and started to take his gloves off, and it only agravates when he heard the shout his son had let following after.

Those damn good for nothing guards, if something else happened to his family he swears he will.... he will...

He stoped dead on his pace when he oppened the door and saw his two children on the floor crying in glee as you hugged them tight to your body.

It can't be...

"Mommy you're okay! You're here!" Kin shouted in glee as she nuzzled in your chest, the snot on her nose evidently sticking to it.

"Mom, I'm so sorry, I'm so sorry..." cried Kaito as he buried his face on the crook of your neck.

"Hey you two I'm alright really. Sorry for taking too long my precious." You said hugging your children close as you fighted back the tears.

Kai stared with wide eyes the scene before aproaching slowly... He stopped in front of you, staring down with disbelief as he trembled.

"This better not be a sick joke." He said breathless as you looked up at him and almost cried at seing the pained look on your husband's face.

"Kai..." you said looking at him as he fell to his knees, not even caring about the dirt on his pants.

"How..?" He asked already letting one or two tears fall as be felt the warmth of your hand on his skin.

You were actually here...

"That man helped me with my injuries after the attack, he has a healing quirk..." you pointed to the elder watching from afar the scene accompanied by two man on each of his side from the yakusa.

"I was unconscious those three days my love I'm so sorry." You teared up before Chisaki just oushed you three to his chest.

"Don't you dare apologize over something like that..." he growled as he let those tears fall shamelessly "Angel... my sweet angel." He nuzzled his covred nose on the top of your head as he silently cried and hugged you close.

"Dad..." kaito kaito sudden said "I'm really sorry."

"Enough of that. Is just over that thing. It never happened." He simply said as he burried his facr deeper in your hair while he let out a tiny sob.

He was owning this poor sick man all of his life for that. The yakusa in general would be owning him...

[whereconfusionisarhyme]

(A/N)Under the cut is a rewrite of the song 16 Going On 17 from Sound Of Music. It’s modernized, and it’s gay. Tumblr doesn’t have center text, so please just pretend that the stage directions are in the center. 

It was inspired by the Broadway Backwards version of Sixteen Going On Seventeen, but it’s not a neccessary thing to watch to get the scene.

***

CHARACTERS

Lessie – Mezzo-Soprano/Soprano. Upbeat, bouncy, sassy.

Raffaella – Alto/Mezzo-Soprano. Good posture, subtle emotions, cautious.

***

(Lessie enters stage left dragging Raffaella by the hand. Lessie is excited and eager to reach their destination, while Raffaella is apprehensive and wildly looking around in a mixture of confusion and worry. Lessie stops center stage and looks somewhere offstage, barely containing her excitement.)

LESSIE

There it is!

(Raffaella stares at the same spot, but with incredulity. She slowly turns to Lessie and tries not to squash her best friend's excitement.)

RAFFAELLA

Lessie...Lessie...I love you...but I am not letting you take a single step into that warehouse.

(Lessie noticeably flashes her eyes up at the words 'I love you', but tries to cover it up with pouting.)

LESSIE

But Raffaellaaaaa. That's not fairrrrr. We did the thing you wanted to do yesterday. You said we can do my thing today.

RAFFAELLA

Yes, I did, but the key difference you seem to be overlooking is that I went to a BOOKSTORE at 2:00 pm. YOU want to go to a WAREHOUSE at 11:00 pm.

LESSIE

Firstly, you got the time wrong it's actually about 12:30 right now. Secondly, I don't want to go to the WAREHOUSE. I want to go to the RAVE inSIDE the warehouse.

RAFFAELLA

What?! A rave?! That is completely and utterly ridiculous. We're going home.

LESSIE

We are NOT going home. My parents probably won't let me go out again with you this month, so I have to make the most of tonight.

(A beat. Raffaella looks taken aback for a moment and a flicker of sadness flashes across her face. She quickly recovers and continues as if nothing happened.)

RAFFAELLA

Why won't they let you?

LESSIE

Because I went out with you today.

RAFFAELLA

Is there some sort of limit to how many times you're permitted to go out with me?

LESSIE

Well, yes but it's not like a set number. They think I'm spending too much time with you, and that I should get a boyfriend.

RAFFAELLA

Why do they want you to get a boyfriend?

LESSIE

Because it'll "give me experience for when I get a husband". After all, "how can I expect to snag up a good one if I don't know how.".

(Lessie crosses her arms and walks around the stage, waving her hands around and trying to hide her obvious disdain at the notion of getting a husband.)

RAFFAELLA

That...odd.

LESSIE

Tell me something I don't know. So, yeah, I'm not going home.

(Raffaella attempts to compromise with Lessie, worried for her safety.)

RAFFAELLA

Well, if that's the case, let's just...go see a movie then. We can watch an R-rated one if you can't squash your need to be rebellious.

LESSIE

Please, girl, I'm staying. I'm not giving this chance up.

(Less stands on the box farthest to the right of the stage and looks offstage, at the warehouse. Raffaella pulls her back and off of the box.)

RAFFAELLA

Please, "girl", why do you need to go in there?

LESSIE, JOKINGLY SINGING AND SHIMMYING

I love the night life! I've got to boo-gay~

RAFFAELLA

Nonono, that's it. We're getting away from this place.

LESSIE

No, fine, you go. I'm gonna stay.

RAFFAELLA

No, it's too dangerous. You're just a baby.

LESSIE

I'm not a baby! I'm 18.

(Beat.)

RAFFAELLA, DEADPAN

You're 16.

LESSIE

Nearly 17. And 17 in basically 18.

(A beat. A sigh from Raffaella is heard.)

RAFFAELLA

You wait little girl On an empty stage For fate to turn the light on

Your life little girl

LESSIE

I'm not little.

RAFFAELLA

Sure.

RAFFAELLA

Is an empty page That men will want to write on

LESSIE, LOOKING AT RAFFAELLA WISTFULLY,

To write on

RAFFAELLA

You are 16 going on 17 Baby it's time to think

LESSIE

Sounds disgusting

(Raffaella send Lessie a 'done' look. Lessie scrunches up her nose and smirks at Raffaella.)

RAFFAELLA

Better beware Be canny and careful Baby you're on the brink You are 16 going on 17 Fellows will fall in line Eager young lads And grueways and cads Will offer you food and wine

LESSIE

Sounds amazing.

RAFFAELLA Totally unprepared are you To face a world of men Timid and shy and scared are you Of things beyond your kin You need someone Older and wiser Telling you what to do I am 17 going on 18 I'll take care of you

(Raffaella goes to boop Lessie on the nose. Lessie grabs her hand and moves it away from her face. Raffaella briefly looks down at her hand in Lessie's before her attention coming back up to Lessie when the girl talks.)

LESSIE

You aren't 'going on 18', your birthday was literally 2 days ago.

RAFFAELLA, SMIRKING

It doesn't change the fact that you're still a 16-year-old baby while I'm a 17-year-old adult.

(Lessie lets go of Raffaella's hand.)

LESSIE

Two weeks. Two weeks between my birthday and yours. Only TWO WEEKS. Nobody found this little bit funny when we were six, and it still isn't funny when we're 17.

RAFFAELLA

I'M 17. You, on the other hand, are-

LESSIE

Don't you da-

RAFFAELLA

16.

LESSIE

You're not my friend anymore.

RAFFAELLA

I have to stay your friend, because I am older and therefore obligated to take care of you.

LESSIE

I can take care of myself, thank you very much.

(Lessie's lyrics are sung in a sickeningly sweet soprano. So much mugging that she would be arrested and put before a jury.)

LESSIE

I am 16 going on 17 I know that I'm naive Fellows I meet may tell me I'm sweet And willingly I believe I am 16 going on 17 innocent as a rose Bachelor dandies Drinkers of brandies What do I know of those?

(Raffaella sticks out her leg and trips Lessie. Lessie glares at her. Raffaella gives an innocent look. Lessie recovers quickly and continues her sarcasm.)

Totally unprepared am I To face a world of men Timid and shy and scared am I Of things beyond my kin I need someone Older and wiser Telling me what to do

(Lessie walks behind Raffaella and wraps her arms around Raffaella's middle, bringing herself down to peep her head in between Raffaella's torso and arms. She begins to sway back and forth.)

You are 17 going on 18

(Lessie looks up at Raffaella with an uncanny sweetness and says to line with unexpected sincerity.)

I'll depend on you

LESSIE

Sike, I'm going to the rave.

(Raffaella grabs Lessie by the hand and pulls her back. Lessie spins into Raffaella's arms. They make eye contact. They are both noticeably flustered. Lessie hastily pushes Raffaella away. Raffaella is saddened by the loss of contact but Lessie doesn't notice, lost in her own thoughts.)

(Musical interlude. Consider using either modern or timeless type of dance. They end on opposite ends of the stage.)

(Raffaella and Lessie do that iconic 'walking away and coming back again' that is memorable from the original Sixteen Going On Seventeen scene. On the final time they meet in the middle, Raffaella pulls Lessie into a kiss. At first, Lessie gets pushed back by the force, but quickly pushes forward and return to kiss. Raffaella pulls back in surprise. Raffaella runs offstage right. Lessie holds her fingers up to her lips and squeals in excitement. Her head snaps back up to where Rafaella ran off to. She reaches out her hand. She exits stage right in the same direction as Raffaella, yelling.)

LESSIE

Wait, Raffaella, wait up!

(End scene.)

***

Comments are always appreciated! 

Video I was talking about

[janeeyreheresy]

Reunited

Jane gets off the chaise a mile from her destination, opting to cover the rest of her journey on foot. Ferndean Manor is a manor-house that Papa Roch bought for the sake of hunting, but could never find a tenant to let it out to due to its dreary location. Jane enters the grounds, but all she can see is trees and the path stretches on forever. At last the house appears in front of her and it is indeed, as the innkeeper put it, a desolate spot. She wonders if life can be there.

Apparently it can--a door opens.

It opened slowly: a figure came out into the twilight and stood on the step; a man without a hat: he stretched forth his hand as if to feel whether it rained. Dusk as it was, I had recognised him—it was my master, Edward Fairfax Rochester, and no other.

And here was I, getting excited it would be someone more interesting. A strong, silent hermit, in touch with nature, a closer kin to the woods than to people, his horse is his only companion, he shuns the society for the hurt they caused him and his loved ones. 

It seems I wandered into a different fantasy.

She notes his appearance is not changed much (for once she doesn't mention his ugliness) but he's looking all hurt and broken. But check this out:

His form was of the same strong and stalwart contour as ever: his port was still erect, his hair was still raven black; nor were his features altered or sunk: not in one year’s space, by any sorrow, could his athletic strength be quelled or his vigorous prime blighted. 

So there is still a lot she likes about the way he looks. It's only his face that's ugly. She likes his general physique. The way she's been going on for the whole book, claiming the moral high ground for not caring about a man's exterior, when she does actually find some of his features attractive. Because that's normal, because she's a human being, like the rest of us. I would have more time for her had she not felt so superior about herself. 

Rochester goes back in. Jane approaches the door and knocks. Mary (John's wife, who used to be a cook at Thornfield, I know y'all getting confused about all the different Marys) opens and gets the fright of her life. Jane arranges with Mary a stay for the night and asks Mary to tell Rochester there's someone to see him when his bell rings. Mary comes back with a message saying Rochester demands to know the name and the business. Mary fills up a glass with water and places it on a tray with some candles; she explains that's how he wants it.

"he always has candles brought in at dark, though he is blind.”

Okay, but why? His house LITERALLY FUCKING BURNED DOWN. He is blind, he could easily knock a candle down by accident! Look, I don't give a fuck, he can scorch himself as far as I'm concerned, but he's not there alone, John and Mary are there and he could put them in danger. He won't be able to play the hero and rescue them if a fire breaks out this time, he can't fucking see!

Jane takes the tray from Mary and carries it to Rochester herself, because of course she cannot think of any other way to come to him other than serving him. 

She brings him the tray, surprising him with her presence, puts the tray down, hands him the glass, pats him on the shoulder and says: "Goodbye, Eddie. Enjoy your miserable existence." And off she goes to live a fabulous life.

Just kidding. That is not what happens. The lovers are re-united is what happens.

Nope. She still calls him "sir" and directly addresses him as "my master". 

You and me, Padme, both.

Charlotte Bronte insisted these two had to be together. Okay. It's her book. I just think it would be a million times more romantic if Jane's first words were: "My dear Edward. I am back and I am here to stay." She doesn't work for him anymore, he's not her master, he's not a master in the Mr Miyagi sense, and although she is somewhat lower than him in society hierarchy, she has her own money now and he is more or less a broken man with whom the gentry doesn't want to associate with anymore. There is no need to call him "sir" again, ever. 

So you wonder, what is the first thing she tells him, once he gets over the shock of her being there in the flesh, when he feared she was dead in some ditch? Does she perhaps say something along the lines of "hey, I heard you're widowed now, so what's up with that wedding?" or "so Thornfield burned down, eh? couldn't deal without me being there to throw water on it, tsk tsk". Or "isn't that just so CONVENIENT that your INCONVENIENT wife KILLED HERSELF?" (And Usain Bolt it out of there.)

What does Jane say to a man who has already married one woman for her money?

Jane: "I am an independent woman now.”

Rochester: “Independent! What do you mean, Jane?”

Jane: “My uncle in Madeira is dead, and he left me five thousand pounds.”

Rochester's reaction:

“Ah! this is practical—this is real!”

It is practical. He's not lying. 

Jane:

"I will be your neighbour, your nurse, your housekeeper. I find you lonely: I will be your companion—to read to you, to walk with you, to sit with you, to wait on you, to be eyes and hands to you. Cease to look so melancholy, my dear master; you shall not be left desolate, so long as I live.”

That's the fifth time she has used "my master" since she started on her journey back to him. Second time she called him so directly.

A nurse or a purse, or why not both, Jane, eh?