#she had it coming honestly

[my-name-is-apollo]

Which one is your favourite in Lucian's dialogue of the gods?

It's gotta be the one between Hera and Leto. Like it's so catty and petty and cracks me up every time the way Hera picked a losing fight because Hera starts it with "Oh aren't your kids are so lovely! /s" and Leto ends it with "I can't wait to see you cry when your husband has his next affair." (and yes I imagine them having the whole convo with a smile on their faces)

[egophiliac]

like mother, like son, but less wholesome this time?

(I couldn't decide whether or not to put them together, so have them in all the different ways!)

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

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

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[little-pondhead]

DP x DC Prompt

…

There are no more heroes.

Well, okay. Rewind a bit.

Danny has been doing the hero thing for a while now. He’s had a big reveal; everyone has accepted him (including his parents), the GIW disbanded, the Anti-Ecto acts repealed, and generally, everything is going great. Some of the A-Listers are even training as junior ghost hunters to help give him a break from his rogues! (Being Ghost King makes things hectic sometimes, and he just needs the extra help. Sue him!)

The point is, literally nothing is wrong with Danny Phantom’s afterlife.

And then Valerie Gray, the Red Huntress, disappears in front of his eyes.

Danny is baffled! She’s just…gone! Valerie just popped out of existence, like she was never there. But no matter how hard he searches in the Ghost Zone, he can’t find her soul anywhere. His core isn't broken in grief. So she’s not dead. Which is good. So then, where is she?

Some of the others come forward with ideas on how to find her. A few ghosts volunteer to go out into the mortal realm, an area Danny had declared off-limits, to see if she was out there. Danny approves it. He rounds up some of the friendlier (i.e., discreet) ghosts and Amity Parkers and demolishes the outside travel ban.

So everyone spreads out, looking for their dear frenemy and teammate. But it becomes apparent very quickly that something is wrong with the rest of the world.

There are no more heroes.

Every single living superhero on the face of the Earth has just…vanished. Villains are running amok; the countries are in chaos! Some aliens are invading Earth, mythical deities are trying to take over, and society is crumbling to the ground. Everything is on the brink of collapse.

Well, Danny was still there. And so were his people. They were pretty spread out, so could they just…take up the mantles? He also knew where to find the souls of dead heroes in the Zone; surely they wouldn't mind coming out of retirement for a little bit, especially if they couldn't die again. Oh! And that skeleton army leftover from Pariah Dark's reign might be useful in repelling those invading forces.

Honestly, there were more than enough hands to go around! And with the heroes gone, Danny didn't mind letting everyone out for a little break, as long as they followed his rules. They wouldn't stop the search for the other heroes, but hopefully, when they found them, the heroes wouldn't mind Danny's intervention too much. :)

In other words:

Someone fucks up, and all of Earth's living heroes are either wished out of existence or are whisked away to some far-off realm where Danny hasn't checked yet. In the attempt to figure out what's going on, Danny lets the dead run amok over the Earth as they search for clues. The skeleton army repels the invading armies, the souls of dead heroes deal with the world leaders, and his rogues and other Amity Parkers set up shop in place of famous heroes, trying to get the cities under control again.

Basically, they just do their best to keep everything from imploding until the Justice League and others are back.

(And why is it that Danny hasn't disappeared? Well, whatever caused everyone to go poof! only affected living heroes. Anyone heroes that were dead in the first place, or even just half-dead, stayed behind.)

[tangents-within-tangents]

Hot take:

Crosshair does not have the Imperial disillusionment and redemption arc of The Bad Batch

Emerie does.

Crosshair has an arc for sure yes but it's not that.

I was thinking about this scene:

and how it got right what this scene kinda didn't:

(It was so close but then bad writing decided to undercut the moment with a joke rip)

And I think it's really interesting that these characters who were more or less raised into the Empire/First Order and chose to leave it are all directly asked why.

But take a look at Crosshair's answers in comparison:

Different context for the asking, yes, but still, compare that to clones like Howzer, Cody, Slip and Cade who left or turned against the Empire because they knew what the Empire is doing is wrong and they weren't just going to blindly follow orders:

Crosshair - Loyalty, Purpose, and Survival

Crosshair didn't choose to join the Empire (though the show isn't very clear or consistent about how much control the inhibitor chips have) but he did, for whatever reason, choose to stay. By the end of S1 we know his chip has been removed and as he definitively says "This is who I am." There were likely still other influences on his decision, but listen to how he talks about the Empire in the S1 finale:

Hunter: Crosshair, I've seen what the Empire is doing. Occupying planets and silencing anyone who stands against them. You know it's not right. Crosshair: You still don’t see the bigger picture, but you will. Hunter: Can't you see they're using you?

Crosshair: We’re not like the regs, we never have been. We’re superior. The Empire can’t protect the galaxy without strength, this is what we were made for. Think of all we could do, together!

Crosshair: You all are meant for more than drifting through the galaxy. It’s time to stop running. Join the Empire, and you will have purpose again.

Hunter: They destroyed an entire city! Crosshair: They did what needed to be done. Kamino, regs, the Republic, that time is over. The Empire will control the entire galaxy, and I am going to be a part of it. Hunter: Don't fool yourself. All you'll ever be to them is a number.

He undeniably knows what the Empire is doing, but he does not care. In fact it sure sounds like he actually supports it and finds self-meaning in it. Hunter spends those episodes trying to convince him it's wrong, he doesn't change his mind. In the end they offer him an out and he doesn't take it.

Wrecker: You coming with us? Crosshair: None of this changes anything. Hunter: You offered us a chance, Crosshair. This is yours. Crosshair: I made my decision.

The next we see Crosshair in "The Solitary Clone" (S2:E3) he follows orders and shoots the Desix governor, right after Cody heartbreakingly tries to do what's right and find a peaceful solution.

Cody: Tell me something, Crosshair. This new Empire, are we making the galaxy better? Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

After this (glorious!) conversation, Crosshair stays. Maybe this began to seed some doubts, but he actually smiles a few scenes later when Rampart assigns him another mission. It seems like for him it truly is as he said in S1:E1 (chip not enhanced yet but still influencing him enough for his brothers to notice he's acting strange):

Crosshair: Republic, Empire... what's the difference.

Crosshair: Orders are orders.

This unethical mission that finally pushed Cody over the edge does not change Crosshair's mind about the Empire, at least not enough for him to take action.

But what does?

Mayday: And here we are, the survivors. Combat troopers stuck babysitting cargo shipments. Crosshair: Mission’s a mission. Mayday: Yeah, I used to say the same thing.

Mayday: After all the clones have done, all we’ve sacrificed. We’re good soldiers, we followed orders. And for what?

This mission has nothing to do with how the fascist Empire treats the galaxy, it's about how they treat their soldiers. It's about how Mayday loyally fought and served his whole life and Lieutenant Nolan let him die

Lt Nolan: He served his purpose as a soldier of the Empire. Crosshair: You could have saved him! Lt Nolan: Perhaps you didn’t hear me, he is expendable, as are you.

Crosshair thought he could find purpose within the Empire, and Nolan shows him exactly what that will be.

His turning point is accompanied with this powerful visual of the ice vulture, a symbol (and threat) of death, and also set up within the episode a symbol of survival:

Mayday: Vicious creatures, but you have to admire ‘em. They find a way to survive.

This critical moment (that gives me chills, oof this episode is a masterpiece!) comes right after Nolan calls him expendable and directly threatens him:

Lt Nolan: And if you speak to me again with such disrespect I'll see to it you meet a similar fate, clone.

then Crosshair sees the vulture's shadow and turns to Mayday's dead body (ahh visual storytelling my beloved) then makes his decision:

Crosshair turns against the Empire not because he believes Hunter was right about this:

Hunter: I've seen what the Empire is doing ... You know it's not right.

but because he was right about this:

Hunter: All you'll ever be to them is a number.

Redemption (both in fiction and irl in my humble opinion) comes with making amends and reparations (which is why death 'redemptions' bother me so much but that's a rant for another time). Unlike Emerie, Crosshair never explicitly denounces the Empire or his own actions within it. He never says anything to specifically show if and how his views have changed from what he said on Kamino. He makes amends with his family (sending the warning message, helping Omega escape, making up with Hunter) but that's about it. The most we get in terms of acknowledgement is this:

Crosshair: I thought I knew what I was getting into with the Empire. I thought I was being a good soldier. Hunter: Nobody really understood what was happening back then. Crosshair: I’ve... done things. I’ve made mistakes. Hunter: I have regrets too, Crosshair. All we can do is keep trying to be better, and who knows there just might be hope for us yet.

Which is nice and all but it's more about them making up as brothers so it's way too excusing tbh ("no one knew what was happening back then" ummm? "The Empire will control the entire galaxy, and I am going to be a part of it" remember? And even if at first Crosshair was being controlled by the chip, the fact that he chose to stay after it was removed* means he condones and is therefore still accountable for those actions).

There's also a bit of self-destructive guilt:

Crosshair: Omega, don't risk anything for me. I belong in here.

Crosshair: Omega needs you both. So I’m doing this alone, it’s what I deserve. Hunter: Don’t even think about plan 99, Crosshair. Omega needs all of us.

(which thank you Hunter for pushing back on the death redemption bs and oh look is that a wrap up for the purpose thing?)

But there's no action taken on his part to make up for what he's done or to stand against the Empire (aside from the bare minimum of help with Tantiss, only after it became personally relevant, which like yeah he had trauma to deal with but still).

While I do think the implications/follow-up of Crosshair's turn should have been handled better in S3 (like rip Howzer! he deserved an apology, but that's a rant for another time), I don't necessarily** think this arc is a bad writing choice. It's just saying different things than we expect:

Maybe Crosshair's story is not about standing up against an unjust system, like we see with many other characters (who deserved more screen time but that's a rant for another timeeee). Maybe his story is about how even those who are loyal to the Empire, who actually believe in it, still suffer under and within it's rule. Not to garner sympathy, but to show that there is no winning.

Crosshair has another 'so what changed' convo in S3:E14 with Rampart, in which they draw parallels to each other:

Rampart: You used to believe good soldiers followed orders. Crosshair: Depends on who's giving them. The Empire betrayed us both. Rampart: And you think you can fight them? That's not you. You're like me, loyal to no one but yourself. Crosshair: I've changed.

(note how he says who's giving the orders, not what the orders are)

"Loyal to no one but yourself" describes Rampart much more than Crosshair, since we often saw Crosshair pride himself as a loyal soldier of the Empire whereas we saw Rampart abuse power to be self-serving within the Empire (like when he killed Wilco to save face). But they were both betrayed either way. Vice Admiral Rampart, snively Imperial opportunist through-and-through, shouts "I was following orders!" as he is arrested for the Empire's purposes. (Edit: and where Crosshair rejected the Empire and found new purpose fighting for his family, Rampart was still self-serving in the finale. He still tries to gain power for himself and he gets his comeuppance).

Even Hemlock, the final boss immoral Imperial scientist, who has to be benefiting the most from this system, echoes the expendability idea:

Hemlock: What I am working on is beyond your understanding. Something so vital to the Empire it makes me indispensable.

Then there's CX-2, also set up as a parallel/foil to Crosshair (fight me), who in the end is discarded as no more than a weapon, a tool that served it's purpose, showing us what would have become of Crosshair if he had stayed.

There is no winning in the Empire. Loyalty is not rewarded, it "doesn't go both ways." Everyone has to fight for their value. Even high ranking individuals** who for a time benefit from the injustice, in the end are just pawns to be used up and cast aside at a whim for the Emperor's gain. Even people who are motivated by self-interest alone cannot survive within this system, the only viable option in this galaxy is to fight the Empire and dismantle that system. (unless you conveniently find a magically safe island to hide away on but that's a rAnT fOr AnOtHeR tImE)

Which brings us back to...

Emerie - Cooperation, Compassion, and Choice

(Okay this post has already gotten away from me but I still want to talk about her to show the contrasts.)

Emerie may not have been given a lot of screen time to really flesh out her development, but there is a lot that is pretty clearly implied with her:

Crosshair: They’ll never turn her [Omega] over. Hemlock: They don’t have a choice. She is a clone, and therefore Imperial property. *Camera cuts to an angle more centered on Emerie’s face*

Crosshair: Give me your access card! Emerie: It won’t get you outside!

Emerie: I tried to warn him what would happen if he did not cooperate with the Doctor.

Emerie: Prisoner? Omega, you are no such thing. It will take time to adjust, but you will acclimate. It is far safer in here than out there.

Emerie: You should go back to your room. Crosshair: You mean her cell?

Emerie: Why children? Hemlock: Children are easier to attain and more agreeable to the subjugations. They are unaware of why they are here and what they possess.

Emerie: They're children. Like I was... Was your plan to discard them too? Nala Se: The Empire will keep them in order to control them.

We don't know a lot about Emerie's background, but it's clear that she had a lot less choice than Crosshair and less opportunity or ability to leave. Unlike Crosshair, we never directly hear Emerie's views of the Empire (and she was most likely 'taken under Hemlock's wing' before the Empire even came to power), but lets look at how she talks about the Tantiss:

"Remain calm. Cooperate and you might survive."

"Don't make this worse, Crosshair! There is no escape!"

"All of us serve a purpose here."

"The Doctor will inform me, if it's necessary."

"It's best not to ask questions."

"Escape is not possible, Omega. This is for your own good."

She honestly does the best she can within the system she is also trapped in. She tries to help Crosshair, Omega, and the vault kids in the only way she knows how (warns Crosshair about the hounds and security, tries to protect Omega from Hemlock, tells Scorch his "actions were extreme" with Jax, insists on overseeing Bayrn's retrieval, double checks his m-count (to give him an out), and tries to find out where he came from). When she gives Omega, and later Eva, the doll, I think it shows just how little she really is able to do here (and it's kinda heartbreaking imo).

The framing of this shot especially (after Jax's escape attempt) visually shows how Emerie herself is trapped/imprisoned:

Despite the fact that very little of this is Emerie's fault, she has very little power and she is doing all she can, the narrative does not excuse her role in the Empire:

Nala Se: What will you do, Emerie? Emerie: There is nothing I can do. I don't have that kind of power. Nala Se: Don't you?

Emerie: I- I was doing my job. Echo: Yeah, I’ve heard that before. You’re a clone. How can you be part of this?

These fighting-the-Bystander-Effect conversations parallel these exchanges:

Hunter: We made a choice, and so did you. Crosshair: Soldiers follow orders. Hunter: Blind allegiance makes you a pawn.

Crosshair: We’re soldiers, we do what needs to be done. Cody: You know what makes us different from battle droids? We make our own decisions, our own choices. And we have to live with them too.

which did not change Crosshair's mind. And honestly, all respect to Echo's disappointed mom glare™ but I think it's clear Emerie had already made her decision, she just needed help to actually be able to do anything about it. When she stopped Echo, with her voice wavering on the verge of tears (ahhh v good voice acting), she clearly had no intention of turning him in. She's on her own in the Empire's most secure facility with very little resources, if she had tried anything on her own she most likely would have failed and been killed

Omega: Emerie, you don't have to do this. Emerie: (sigh) I’m sorry, but I do.

but as soon as she is enabled by an ally, she immediately turns around to help: giving information and getting Echo through security, helping the kids escape, and giving Omega the tablet that allows them to free the other clone prisoners.

Where Crosshair's turn is accompanied by the symbolic imagery of the ice vulture, Emerie's is the removal of her (literally rose-tinted!) glasses:

Symbolizing how she has shed her previous views/indoctrination that altered her perception of the Empire and blinded her to it's wrongs. It's disillusionment.

Emerie's story shows us that even those who are raised and indoctrinated into this system can, should, and will escape (with needed help). Even those who did not choose to be apart of the Empire and are not making the decisions still have the responsibility and ability to act on what they know is right.

Emerie, whose name means 'Home strength' 'Brave' and 'Powerful', and "reflects the importance of leadership and authority in the workplace".***

While Emerie is only in one more scene after her turn, so the wrap up is a bit rushed, she still very simply does what Crosshair does not:

Emerie: Because I was wrong about this place. And I'm trying to do the right thing.

Echo: I’m sure Senator Chuchi would find what you have to say very helpful for our cause. Emerie: I have a lot to make up for. I’d like to help out however I can.

She admits wrong, takes accountability, commits to making amends, and leaves with Echo to go take on the Empire (which hopefully we will get to actually see more of some day).

So, in short, she's showing us how redemption is done right!

---

Notes:

*Whether this writing choice was good/logical/in-character or not is another discussion entirely, but I'm going off of what we were given, what the show is presenting in the canon text and (reasonably inferred/intentional) subtext. Crosshair is pretty multifaceted and I could only touch on so much here. There's a lot of ways to interpret his character/choices, but I tried to avoid the realm of speculation or fanon explanations (even if they sometimes make more sense lol).

**History and political theory are not my area of expertise at all, so I have NO idea how well this aligns with real-world fascism stuff and therefore what implications this storytelling choice could have. I think the message of like 'if you think you could survive or gain power by doing what the Empire/fascist system wants you are wrong' could be good (like how everyone is actually harmed by the patriarchy type of a thing), but I hesitate bc maybe there are those who would benefit, since it's a hierarchal system, right? If anyone more knowledgeable than me has incite to share, by all means

Either way, I do think it works in-story and in-universe though. It's just in the execution. The main problem (even from a strictly theme/character arc stand point) is the lacking follow-up/consequences for Crosshair in S3. Like you gave your character accountability by removing the chip and I think that's great setup for an arc but you gotta follow through with that and actually hold him accountable!

***I'm always curious when clones have 'normal' names, like why did they chose the name Emerie of all things? So I looked it up. Idk how reliable sources are for name meanings so take it with a grain of salt but it's still fun. Fits pretty well, and clones names have definitely had significant meanings in the past (like how Rex and Jesse both mean 'king') so I'm pretty sure it was intentional.

Anyway, thanks for coming to my tedtalk

[obsessedwithstarwars]

Jasmine is knocked out and kidnapped. Her brother (or siblings?? We could add in Dani and Dan) has to save her. She comes to and knows he’s arrived when a radio turns on by itself (because spooky vibes… it’s all about presentation) and starts playing Teenagers by My Chemical Romance.

[blaithnne]

CBS Ghosts is my new guilty pleasure so take my new OCs. The Blanchet family were distant French cousins of the Woodstones who visited the house in the early 1900s, only for a violent house robbery to take the life of their youngest daughter, Mercedes, and her loyal self appointed guard dog, Horse. Only 8 years old, it takes some time for Mercedes to understand her fate, and for some time she’d be very distressed that her family seem to be ignoring her. On the bright side, the other ghosts are there to try and make things easier, though the misfit collective have a hard time caring for a child given their circumstances, and conflicting ideas on how best to raise a little girl.

Of all the ghosts, she is closest with Thorfinn. He has a soft spot for the little girl.

[greensaplinggrace]

i'm sorry but i'm a buffy apologist at heart y'all are wild if you think her reaction as a literal teenager to faith's accidental murder of an innocent was in any way wrong or bad. in what universe.

[thechy-fychannel]

y'all ever think abt how it was julie having the affair and it is even said multiple times that she was the one who left him, yet wilson was still the one who left their home and moved in with house. like. he couldn't bear to stay in their home alone. he immediately ran to house and stayed on his couch for weeks. suffered through his pranks and his laziness and his manipulation. telling him he wants him gone while sabotaging his attempts to leave. and he only left once he got a girlfriend again.

[esmeraldablazingsky]

unwell about neuvifuri again because for 400 years furina has encouraged neuvillette to open up to humanity, to make friends, to communicate and love and take time to enjoy himself, and over time neuvillette must have realized that furina never really did any of those things for herself, as hedonistic as she might’ve seemed on the surface

throughout the entire archon quest neuvillette is increasingly confused and distressed by furina’s refusal to communicate or confide in him… he notes that there’s something she feels she can’t trust him with after the arlecchino incident, and after their argument in his office he admits that he just doesn’t understand why she won’t communicate when that is the foundation of a healthy relationship (I will bet money that furina is the one who taught him that in the first place!)

he’s clear with her, she knows everything about him, but it slowly becomes evident that she doesn’t trust him in the same way and it must just eat neuvillette up inside that his closest confidant, the one who showed him how to form relationships and open up to people, can’t do the same with him

[askblueandviolet]

I need to see the spider demons please 😭🙏

[blackhholes]

teen wolf meme: [3/5] motifs -> resurrection

It's different now. I think dying did something to him. It did something to me, too. But none of it was good.

[jeeliebeeliegoomiebear]

I’d be more upset about sophia joining manus vindictae if she didn’t look SO good in her new outfit. Idk who the in-team designer is for their weird murder cult but they r absolutely killing it. the way everyone who joins gets a visual upgrade… and like the speed at which they are churning out these elaborate custom haute couture outfits for their new recruits? they honestly need to be including that as a selling point in their propaganda recruitment brochures I think it would rlly win some ppl over

[the-witch-of-woods-beyond]

“if you go, i’ll stay, you come back, i’ll be right here” but it’s clarke griffin giving her life so that bellamy blake and all her friends could make it to space, surviving through sheer will, and calling him on a radio every single day for six years until he could return to her and the home she built for them all.

[nottheeconomy]

A crown of irises and a single dahlia!

Full images beneath the read more!

[sefynarose]

Bound - A Short Sylus Story

(Loosely based off of Sylus’s dialogue if you don’t login for 30 days (based off the tiktok I saw, I could never leave him for a DAY let alone a month but I wanted some angst) Side note this ends abruptly because I stop writing when I lose inspiration so this is just me getting out the little scenario that played in my head :<).

TW: Mentions of blood, death, sadistic sylus, hurt mc, dom!sylus (?), etc.

(Let me know if I need any other tw's. I haven't had to do this on tumblr in forever!)

Mʏ ʙʀᴇᴀᴛʜ ʜɪᴛᴄʜᴇᴅ ᴀs I ғᴜᴍʙʟᴇᴅ ᴡɪᴛʜ ᴛʜᴇ ʙᴀɴᴅᴀɢᴇs, ᴍʏ ғɪɴɢᴇʀs ᴛʀᴇᴍʙʟɪɴɢ ғʀᴏᴍ ᴛʜᴇ ᴘᴀɪɴ. Tʜᴇ ᴍɪssɪᴏɴ ʜᴀᴅ ʙᴇᴇɴ ʟᴏɴɢ ᴀɴᴅ ʙʀᴜᴛᴀʟ, ᴀɴᴅ I ʙᴀʀᴇʟʏ ᴍᴀɴᴀɢᴇᴅ ᴛᴏ ᴅʀᴀɢ ᴍʏsᴇʟғ ʙᴀᴄᴋ ᴛᴏ ᴍʏ ᴀᴘᴀʀᴛᴍᴇɴᴛ ʙᴇғᴏʀᴇ ᴄᴏʟʟᴀᴘsɪɴɢ.

Mʏ ʙᴏᴅʏ ᴡᴀs ʟɪᴛᴛᴇʀᴇᴅ ᴡɪᴛʜ ʙʀᴜɪsᴇs ᴀɴᴅ ғʀᴇsʜ sᴄᴀʀs, sᴏᴍᴇ sᴛɪʟʟ ʙʟᴇᴇᴅɪɴɢ, ᴀɴᴅ I ᴡᴀs ᴀʟᴍᴏsᴛ ᴄᴇʀᴛᴀɪɴ I ʜᴀᴅ ᴀ ʜᴀɪʀʟɪɴᴇ ғʀᴀᴄᴛᴜʀᴇ ɪɴ ᴍʏ ʀɪʙ. Iᴛ ᴡᴀsɴ’ᴛ ᴀ ᴄᴏᴍᴘʟᴇᴛᴇ ʙʀᴇᴀᴋ, ʙᴜᴛ ᴇᴠᴇʀʏ ʙʀᴇᴀᴛʜ sᴇɴᴛ ᴀ sʜᴀʀᴘ ʀᴇᴍɪɴᴅᴇʀ ᴏғ ʜᴏᴡ ғʀᴀɢɪʟᴇ ᴍʏ ʙᴏɴᴇs ғᴇʟᴛ. I’ᴅ ʜᴀᴠᴇ ᴛᴏ ᴠɪsɪᴛ ᴛʜᴇ ʜᴏsᴘɪᴛᴀʟ ᴛᴏᴍᴏʀʀᴏᴡ, ʙᴜᴛ ғᴏʀ ɴᴏᴡ, I sᴛʀᴜɢɢʟᴇᴅ ᴛᴏ ᴡʀᴀᴘ ᴍʏ ᴡᴏᴜɴᴅs, ᴡɪɴᴄɪɴɢ ᴀs I ᴅᴀʙʙᴇᴅ ᴀɴᴛɪsᴇᴘᴛɪᴄ ᴏɴᴛᴏ ᴀ ᴅᴇᴇᴘ ɢᴀsʜ ʀᴜɴɴɪɴɢ ᴀʟᴏɴɢ ᴍʏ ᴀʀᴍ.

I sɪɢʜᴇᴅ, ᴄʟᴏsɪɴɢ ᴍʏ ᴇʏᴇs ғᴏʀ ᴀ ᴍᴏᴍᴇɴᴛ, ᴛʀʏɪɴɢ ᴛᴏ ᴘᴜsʜ ᴛʜᴇ ᴘᴀɪɴ ᴀsɪᴅᴇ. Tʜᴇ ʀᴏᴏᴍ ᴡᴀs ǫᴜɪᴇᴛ, sᴀᴠᴇ ғᴏʀ ᴛʜᴇ sᴏғᴛ ʀᴜsᴛʟᴇ ᴏғ ᴛʜᴇ ғɪʀsᴛ ᴀɪᴅ ᴋɪᴛ.

I ʜᴀᴅɴ’ᴛ ᴛᴏʟᴅ ᴀɴʏᴏɴᴇ ���ʙᴏᴜᴛ ᴛʜᴇ ᴍɪssɪᴏɴ—ɴᴏᴛ ᴇᴠᴇɴ ʜɪᴍ.

Mʏ sᴛᴏᴍᴀᴄʜ ᴛᴡɪsᴛᴇᴅ ᴀᴛ ᴛʜᴇ ᴛʜᴏᴜɢʜᴛ. Iᴛ ᴡᴀs ʙᴇᴄᴀᴜsᴇ ᴏғ ʜɪᴍ, ʀᴇᴀʟʟʏ. Wᴇ ʜᴀᴅ ғᴏᴜɢʜᴛ. Nᴏᴛ ᴊᴜsᴛ ᴀɴʏ ғɪɢʜᴛ, ʙᴜᴛ ᴛʜᴇ ᴋɪɴᴅ ᴛʜᴀᴛ ʟᴇғᴛ ᴡᴏʀᴅs ʟɪɴɢᴇʀɪɴɢ ɪɴ ᴛʜᴇ ᴀɪʀ ʟɪᴋᴇ ᴡᴏᴜɴᴅs ᴛʜᴀᴛ ᴄᴏᴜʟᴅɴ’ᴛ ʜᴇᴀʟ. I ʜᴀᴅ sᴛᴏʀᴍᴇᴅ ᴏᴜᴛ ᴏғ ᴛʜᴇ N109 ᴢᴏɴᴇ ɪɴ ᴀ ʙʟɪɴᴅ ғᴜʀʏ, ɴᴇᴇᴅɪɴɢ ᴛᴏ ᴇsᴄᴀᴘᴇ ᴛʜᴇ sᴜғғᴏᴄᴀᴛɪɴɢ ᴛᴇɴsɪᴏɴ ʙᴇᴛᴡᴇᴇɴ ᴜs. Tʜᴇ ᴄᴏᴍᴍɪssɪᴏɴ ғᴏʀ ᴛʜᴇ ᴍɪssɪᴏɴ ʜᴀᴅ ᴄᴏᴍᴇ ᴀᴛ ᴛʜᴇ ᴘᴇʀғᴇᴄᴛ ᴛɪᴍᴇ, sᴏ I ᴛᴏᴏᴋ ɪᴛ ᴡɪᴛʜᴏᴜᴛ ᴀ sᴇᴄᴏɴᴅ ᴛʜᴏᴜɢʜᴛ. I ᴅɪᴅɴ’ᴛ ᴛᴇʟʟ ʜɪᴍ ʙᴇᴄᴀᴜsᴇ I ᴅɪᴅɴ’ᴛ ᴡᴀɴᴛ ᴛᴏ ᴅᴇᴀʟ ᴡɪᴛʜ ʜɪᴍ. I ᴅɪᴅɴ’ᴛ ᴡᴀɴᴛ ᴛᴏ ʜᴇᴀʀ ᴛʜᴇ ʙɪᴛɪɴɢ ᴡᴏʀᴅs ᴏʀ ᴛʜᴇ ᴄᴏʟᴅ ᴅɪsᴀᴘᴘʀᴏᴠᴀʟ ɪɴ ʜɪs ᴠᴏɪᴄᴇ.

I ʟᴇғᴛ ᴍʏ ᴘʜᴏɴᴇ ʙᴇʜɪɴᴅ ᴏɴ ᴘᴜʀᴘᴏsᴇ. Tʜᴇ ᴛʜᴏᴜɢʜᴛ ᴏғ ʜɪᴍ ᴍᴇssᴀɢɪɴɢ ᴏʀ ᴄᴀʟʟɪɴɢ, ᴋɴᴏᴡɪɴɢ ᴇxᴀᴄᴛʟʏ ᴡʜᴇʀᴇ I ᴡᴀs, ᴍᴀᴅᴇ ᴍʏ sᴋɪɴ ᴄʀᴀᴡʟ. I ʜᴀᴅɴ’ᴛ ᴄʜᴇᴄᴋᴇᴅ ɪᴛ sɪɴᴄᴇ. Iᴛ sᴀᴛ ᴀᴄʀᴏss ᴛʜᴇ ʀᴏᴏᴍ ᴏɴ ᴍʏ ᴅᴇsᴋ, sɪʟᴇɴᴛ, ɪᴛs sᴄʀᴇᴇɴ ᴅᴀʀᴋ ᴀɴᴅ ᴏᴍɪɴᴏᴜs. I ʜᴀᴅɴ’ᴛ ᴅᴀʀᴇᴅ ᴛᴏ ᴘɪᴄᴋ ɪᴛ ᴜᴘ, ᴛʀᴇᴀᴛɪɴɢ ɪᴛ ʟɪᴋᴇ ᴀ ʙᴏᴍʙ ᴡᴀɪᴛɪɴɢ ᴛᴏ ᴇxᴘʟᴏᴅᴇ. I ᴡᴀsɴ’ᴛ sᴜʀᴇ ɪғ ʜᴇ ᴇᴠᴇɴ ɴᴏᴛɪᴄᴇᴅ I ᴡᴀs ɢᴏɴᴇ. Bᴜᴛ ᴅᴇᴇᴘ ᴅᴏᴡɴ, I ᴡᴀs ᴛᴇʀʀɪғɪᴇᴅ ᴏғ ᴛʜᴇ ᴀʟᴛᴇʀɴᴀᴛɪᴠᴇ—ᴛʜᴀᴛ ʜᴇ ᴅɪᴅ ɴᴏᴛɪᴄᴇ. Aɴᴅ ɪғ I ʜᴀᴅ sᴜᴄᴄᴇᴇᴅᴇᴅ ɪɴ ᴘɪssɪɴɢ ʜɪᴍ ᴏғғ… I ᴅɪᴅɴ’ᴛ ᴡᴀɴᴛ ᴛᴏ ᴋɴᴏᴡ ᴡʜᴀᴛ I’ᴅ ғɪɴᴅ.

I ᴅᴇʟɪʙᴇʀᴀᴛᴇʟʏ ᴀᴠᴏɪᴅᴇᴅ ʟᴏᴏᴋɪɴɢ ᴀᴛ ɪᴛ, ғᴏᴄᴜsɪɴɢ ɪɴsᴛᴇᴀᴅ ᴏɴ ᴛʜᴇ ᴛᴀsᴋ ᴀᴛ ʜᴀɴᴅ. Wʜʏ ᴡᴏᴜʟᴅ I ᴘᴏᴋᴇ ᴀ sʟᴇᴇᴘɪɴɢ ʙᴇᴀsᴛ?

I ʜᴀᴅɴ’ᴛ ᴍᴀᴅᴇ ɪᴛ ʜᴀʟғᴡᴀʏ ᴛʜʀᴏᴜɢʜ ᴘᴀᴛᴄʜɪɴɢ ᴍʏsᴇʟғ ᴜᴘ ᴡʜᴇɴ ᴛʜᴇ ʟɪɢʜᴛs ғʟɪᴄᴋᴇʀᴇᴅ. I ɢʟᴀɴᴄᴇᴅ ᴜᴘ ᴀᴛ ᴛʜᴇ ᴅɪᴍᴍɪɴɢ ᴄʜᴀɴᴅᴇʟɪᴇʀ, ᴀ ғᴀᴍɪʟɪᴀʀ ᴄʜɪʟʟ ᴄʀᴀᴡʟɪɴɢ ᴜᴘ ᴍʏ sᴘɪɴᴇ, ᴍᴀᴋɪɴɢ ᴍʏ ʜᴇᴀʀᴛ ʜᴀᴍᴍᴇʀ ɪɴ ᴍʏ ᴄʜᴇsᴛ. I ғᴇʟᴛ ғᴏᴏʟɪsʜ. I sʜᴏᴜʟᴅ’ᴠᴇ ᴋɴᴏᴡɴ ʜᴇ ᴡᴏᴜʟᴅ ғɪɴᴅ ᴏᴜᴛ ᴛʜᴇ sᴇᴄᴏɴᴅ I ʀᴇᴛᴜʀɴᴇᴅ, ᴡʜᴇᴛʜᴇʀ I ᴄᴀʟʟᴇᴅ ʜɪᴍ ᴏʀ ɴᴏᴛ.

I ʜᴀᴅ ʙᴇᴇɴ ɢᴏɴᴇ ᴛᴏᴏ ʟᴏɴɢ. I ʜᴀᴅɴ’ᴛ ᴛᴏʟᴅ ʜɪᴍ.

Tʜᴇ ʟɪɢʜᴛ sᴘᴜᴛᴛᴇʀᴇᴅ, ᴛʜᴇɴ ᴅɪᴇᴅ ᴏᴜᴛ ᴄᴏᴍᴘʟᴇᴛᴇʟʏ. Dᴀʀᴋɴᴇss ᴅᴇsᴄᴇɴᴅᴇᴅ, ᴛʜɪᴄᴋ ᴀɴᴅ sᴜғғᴏᴄᴀᴛɪɴɢ, ᴀs ɪғ ᴛʜᴇ ᴀɪʀ ɪᴛsᴇʟғ ᴡᴀs ᴡᴀɪᴛɪɴɢ ғᴏʀ ʜɪs ᴀʀʀɪᴠᴀʟ. Eᴀᴄʜ ʙʀᴇᴀᴛʜ ɢʀᴇᴡ ʜᴇᴀᴠɪᴇʀ, ᴀɴᴅ ᴛʜᴇ ᴛᴇɴsɪᴏɴ ɪɴ ᴛʜᴇ ʀᴏᴏᴍ ᴛʜɪᴄᴋᴇɴᴇᴅ. A ғᴇᴀᴛʜᴇʀ, ʙʟᴀᴄᴋ ᴀs ᴍɪᴅɴɪɢʜᴛ, ғʟᴏᴀᴛᴇᴅ ɢᴇɴᴛʟʏ ᴘᴀsᴛ ᴍʏ ғᴀᴄᴇ. Tʜᴇɴ ᴀɴᴏᴛʜᴇʀ. Aɴᴅ ᴀɴᴏᴛʜᴇʀ.

Mʏ ᴘᴜʟsᴇ ǫᴜɪᴄᴋᴇɴᴇᴅ. Tʜᴇ ᴀɪʀ ᴛᴜʀɴᴇᴅ ғʀɪɢɪᴅ, ᴀɴᴅ ғʀᴏᴍ ᴛʜᴇ ᴛʜɪᴄᴋᴇɴɪɴɢ sʜᴀᴅᴏᴡs, ᴄʀɪᴍsᴏɴ ᴇʏᴇs ʙʟᴀᴢᴇᴅ ᴛᴏ ʟɪғᴇ, sᴇᴀʀɪɴɢ ᴛʜʀᴏᴜɢʜ ᴛʜᴇ ʙʟᴀᴄᴋɴᴇss ʟɪᴋᴇ ᴇᴍʙᴇʀs.

“Y/N,” ᴀ ʟᴏᴡ, ᴍᴇɴᴀᴄɪɴɢ ɢʀᴏᴡʟ ғɪʟʟᴇᴅ ᴛʜᴇ ʀᴏᴏᴍ. Hɪs ᴠᴏɪᴄᴇ ᴡᴀs ᴜɴᴍɪsᴛᴀᴋᴀʙʟᴇ.

Mʏ ʙʟᴏᴏᴅ ᴛᴜʀɴᴇᴅ ᴛᴏ ɪᴄᴇ. Tʜᴇ ғᴇᴀʀ I ᴛʀɪᴇᴅ sᴏ ʜᴀʀᴅ ᴛᴏ ʙᴜʀʏ sᴜʀɢᴇᴅ ᴜᴘ, ʙᴜᴛ ᴍɪxᴇᴅ ᴡɪᴛʜ ɪᴛ ᴡᴀs sᴏᴍᴇᴛʜɪɴɢ ᴇᴠᴇɴ ᴍᴏʀᴇ ᴅᴀɴɢᴇʀᴏᴜs—ᴀ ᴘᴜʟʟ, sᴏᴍᴇᴛʜɪɴɢ ᴅᴇᴇᴘ ᴀɴᴅ ɪɴsᴛɪɴᴄᴛᴜᴀʟ ᴛʜᴀᴛ I ᴄᴏᴜʟᴅ ɴᴇᴠᴇʀ ғᴜʟʟʏ ᴇxᴘʟᴀɪɴ. I ᴛʀɪᴇᴅ ᴛᴏ sᴛᴇᴇʟ ᴍʏsᴇʟғ, ᴛᴏ ᴘᴜsʜ ʙᴀᴄᴋ, ʙᴜᴛ ᴍʏ ʙᴏᴅʏ ʙᴇᴛʀᴀʏᴇᴅ ᴍᴇ—ᴍʏ ʜᴀɴᴅs ᴛʀᴇᴍʙʟɪɴɢ, ᴍʏ ᴘᴜʟsᴇ ᴇʀʀᴀᴛɪᴄ. Tʜᴇ ғɪʀsᴛ ᴀɪᴅ ᴋɪᴛ sʟɪᴘᴘᴇᴅ ғʀᴏᴍ ᴍʏ ɢʀᴀsᴘ, ʜɪᴛᴛɪɴɢ ᴛʜᴇ ғʟᴏᴏʀ ᴡɪᴛʜ ᴀ sʜᴀʀᴘ ᴄʟᴀᴛᴛᴇʀ ᴛʜᴀᴛ sʜᴀᴛᴛᴇʀᴇᴅ ᴛʜᴇ sɪʟᴇɴᴄᴇ.

Hᴇ sᴛᴇᴘᴘᴇᴅ ᴏᴜᴛ ғʀᴏᴍ ᴛʜᴇ ᴠᴏɪᴅ; ᴛᴀʟʟ, ᴍᴇɴᴀᴄɪɴɢ, ᴀɴᴅ ʙʀᴇᴀᴛʜᴛᴀᴋɪɴɢʟʏ ɢᴏʀɢᴇᴏᴜs, ʜɪs ᴇᴠᴇʀʏ ᴍᴏᴠᴇᴍᴇɴᴛ ᴘʀᴇᴅᴀᴛᴏʀʏ. Mʏ ᴠᴇʀʏ ᴏᴡɴ ᴀɴɢᴇʟ ᴏғ ᴅᴀʀᴋɴᴇss, ᴄᴏᴍᴇ ᴛᴏ ᴄᴏʟʟᴇᴄᴛ ᴡʜᴀᴛ ᴡᴀs ʜɪs. Hɪs ɢᴀᴢᴇ ʟᴏᴄᴋᴇᴅ ᴏɴᴛᴏ ᴍɪɴᴇ, ᴀɴᴅ ᴛʜᴇ sʜᴇᴇʀ ɪɴᴛᴇɴsɪᴛʏ ɪɴ ʜɪs ᴇʏᴇs ʟᴇғᴛ ᴍᴇ ғᴇᴇʟɪɴɢ ᴄᴏʀɴᴇʀᴇᴅ, ʟɪᴋᴇ ᴘʀᴇʏ ᴄᴀᴜɢʜᴛ ɪɴ ᴛʜᴇ ᴊᴀᴡs ᴏғ ᴀ ʙᴇᴀsᴛ. Hɪs ᴍᴇʀᴇ ᴘʀᴇsᴇɴᴄᴇ ғɪʟʟᴇᴅ ᴛʜᴇ ʀᴏᴏᴍ, sᴜᴄᴋɪɴɢ ᴀʟʟ ᴛʜᴇ ᴀɪʀ ғʀᴏᴍ ᴍʏ ʟᴜɴɢs, ᴀɴᴅ ᴡɪᴛʜ ᴇᴀᴄʜ ᴘᴀssɪɴɢ sᴇᴄᴏɴᴅ, ᴛʜᴇ ᴛʜʀᴇᴀᴅ ᴏғ ʜɪs ᴄᴏɴᴛʀᴏʟ ғʀᴀʏᴇᴅ ғᴜʀᴛʜᴇʀ.

I ᴄᴏᴜʟᴅ sᴇᴇ ᴛʜᴇ ғᴀɪɴᴛ ᴛᴇɴᴅʀɪʟs ᴏғ ʜɪs ᴇᴠᴏʟ ᴄᴏɪʟɪɴɢ ᴛʜʀᴏᴜɢʜ ᴛʜᴇ ᴀɪʀ, ᴄʀɪᴍsᴏɴ sᴡɪʀʟs ғʟɪᴄᴋᴇʀɪɴɢ ʟɪᴋᴇ ʟɪᴠɪɴɢ sʜᴀᴅᴏᴡs. Tʜᴇʏ ᴡʀᴀᴘᴘᴇᴅ ᴀʀᴏᴜɴᴅ ʜɪᴍ, ᴘᴜʟsɪɴɢ ᴀs ɪғ ᴛʜᴇʏ, ᴛᴏᴏ, ʜᴜɴɢᴇʀᴇᴅ. Hᴜɴɢᴇʀᴇᴅ ғᴏʀ ʀᴇᴛʀɪʙᴜᴛɪᴏɴ. Fᴏʀ ᴄᴏɴᴛʀᴏʟ.

“Yᴏᴜ ᴛʜɪɴᴋ ʏᴏᴜ ᴄᴀɴ ᴊᴜsᴛ ᴅɪsᴀᴘᴘᴇᴀʀ?” Hɪs ᴠᴏɪᴄᴇ ᴡᴀs ʟᴏᴡ, ᴇᴀᴄʜ ᴡᴏʀᴅ ᴄᴜᴛᴛɪɴɢ ᴛʜʀᴏᴜɢʜ ᴛʜᴇ ᴀɪʀ ᴡɪᴛʜ ʙᴀʀᴇʟʏ ʀᴇsᴛʀᴀɪɴᴇᴅ ғᴜʀʏ.

Hᴇ ᴛᴏᴏᴋ ᴀ sɪɴɢʟᴇ sᴛᴇᴘ ғᴏʀᴡᴀʀᴅ, ᴀɴᴅ ᴇᴠᴇʀʏ ᴍᴜsᴄʟᴇ ɪɴ ᴍʏ ʙᴏᴅʏ ᴛᴇɴsᴇᴅ. Mʏ ғɪɢʜᴛ ᴏʀ ғʟɪɢʜᴛ ɪɴsᴛɪɴᴄᴛ sᴄʀᴇᴀᴍᴇᴅ ᴀᴛ ᴍᴇ ᴛᴏ ᴍᴏᴠᴇ, ᴛᴏ ᴅᴏ sᴏᴍᴇᴛʜɪɴɢ, ʙᴜᴛ I ᴡᴀs ᴘᴀʀᴀʟʏᴢᴇᴅ ʙʏ ᴛʜᴇ ᴏᴠᴇʀᴡʜᴇʟᴍɪɴɢ ᴘʀᴇsᴇɴᴄᴇ ᴏғ ʜɪᴍ—ʜɪs ʀᴀɢᴇ, ʜɪs ᴘᴏssᴇssɪᴠᴇɴᴇss, ᴀɴᴅ ᴛʜᴀᴛ ᴅᴇsᴘᴇʀᴀᴛᴇ, ᴅᴀɴɢᴇʀᴏᴜs ɴᴇᴇᴅ ʜᴇ ᴀʟᴡᴀʏs sᴇᴇᴍᴇᴅ ᴛᴏ ʜᴀʀʙᴏʀ ғᴏʀ ᴍᴇ.

I sᴡᴀʟʟᴏᴡᴇᴅ ʜᴀʀᴅ, ᴍʏ ᴛʜᴏᴜɢʜᴛs sᴄᴀᴛᴛᴇʀɪɴɢ ɪɴ ᴛʜᴇ ᴄʜᴀᴏs ᴏғ ᴇᴍᴏᴛɪᴏɴs ᴛʜᴀᴛ ᴡᴀʀʀᴇᴅ ɪɴsɪᴅᴇ ᴍᴇ. Hɪs ᴘʀᴇsᴇɴᴄᴇ ᴡᴀs sᴜғғᴏᴄᴀᴛɪɴɢ, ᴘᴜʟʟɪɴɢ ᴍᴇ ᴜɴᴅᴇʀ. Fᴇᴀʀ, ᴅᴇsɪʀᴇ, ᴀɴᴅ ᴛʜᴀᴛ ɪɴᴇsᴄᴀᴘᴀʙʟᴇ, ᴅᴀɴɢᴇʀᴏᴜs ᴄᴏɴɴᴇᴄᴛɪᴏɴ ʙᴇᴛᴡᴇᴇɴ ᴜs sᴡɪʀʟᴇᴅ ᴛᴏɢᴇᴛʜᴇʀ, ʟᴇᴀᴠɪɴɢ ᴍᴇ ᴅʀᴏᴡɴɪɴɢ ɪɴ ᴀ ᴛɪᴅᴇ ᴏғ ᴄᴏɴғʟɪᴄᴛɪɴɢ ғᴇᴇʟɪɴɢs.

“Yᴏᴜ’ᴠᴇ ɢᴏᴛᴛᴇɴ ʙᴇᴛᴛᴇʀ,” ʜᴇ ᴍᴜʀᴍᴜʀᴇᴅ ᴀs ʜᴇ sᴛʀᴏᴅᴇ ғᴏʀᴡᴀʀᴅ, ʜɪs ᴛᴏɴᴇ ᴍᴏᴄᴋɪɴɢʟʏ ʟɪɢʜᴛ, ᴛʜᴏᴜɢʜ ʜɪs ɢᴀᴢᴇ ᴡᴀs ᴀɴʏᴛʜɪɴɢ ʙᴜᴛ. Hɪs ᴇʏᴇs ᴡᴇʀᴇ sʜᴀʀᴘ, ᴡɪʟᴅ. “Yᴏᴜ ᴄᴀɴ ʜɪᴅᴇ ɪɴ ᴘʟᴀᴄᴇs ᴇᴠᴇɴ I ᴄᴀɴ’ᴛ ғɪɴᴅ.”

Iɴ ᴀ ғʟᴀsʜ, ʜᴇ ᴡᴀs ɪɴ ғʀᴏɴᴛ ᴏғ ᴍᴇ, ʜɪs ʜᴀɴᴅ ɢʀɪᴘᴘɪɴɢ ᴍʏ ᴄʜɪɴ ᴡɪᴛʜ ᴀ ғᴏʀᴄᴇ ᴛʜᴀᴛ ᴍᴀᴅᴇ ᴍᴇ ᴡɪɴᴄᴇ. Hɪs ᴏᴛʜᴇʀ ʜᴀɴᴅ sᴋɪᴍᴍᴇᴅ ᴛʜᴇ ᴇᴅɢᴇ ᴏғ ᴛʜᴇ ᴡᴏᴜɴᴅ ᴏɴ ᴍʏ ᴀʀᴍ, ɴᴏᴛ ᴡɪᴛʜ ᴛᴇɴᴅᴇʀɴᴇss, ʙᴜᴛ ᴡɪᴛʜ ᴀ ᴘᴏssᴇssɪᴠᴇɴᴇss ᴛʜᴀᴛ sᴇɴᴛ sʜɪᴠᴇʀs ᴅᴏᴡɴ ᴍʏ sᴘɪɴᴇ. I ᴄᴏᴜʟᴅɴ’ᴛ sᴛᴏᴘ ᴛʜᴇ ᴡʜɪᴍᴘᴇʀ ᴛʜᴀᴛ ᴇsᴄᴀᴘᴇᴅ ᴍʏ ʟɪᴘs, ᴛᴇᴀʀs ᴘʀɪᴄᴋɪɴɢ ᴀᴛ ᴛʜᴇ ᴄᴏʀɴᴇʀs ᴏғ ᴍʏ ᴇʏᴇs.

“Sʏʟᴜs, I—”

I ᴛʀɪᴇᴅ ᴛᴏ sᴘᴇᴀᴋ, ʙᴜᴛ ʜɪs ғɪɴɢᴇʀs ᴛɪɢʜᴛᴇɴᴇᴅ ᴏɴ ᴍʏ ᴄʜɪɴ, sɪʟᴇɴᴄɪɴɢ ᴍᴇ. Hɪs ᴇʏᴇs ᴅᴇᴠᴏᴜʀᴇᴅ ᴍᴇ, ʟɪɴɢᴇʀɪɴɢ ᴏᴠᴇʀ ᴇᴠᴇʀʏ ʙʀᴜɪsᴇ, ᴇᴠᴇʀʏ ᴄᴜᴛ, ᴀɴᴅ I ᴄᴏᴜʟᴅ ғᴇᴇʟ ʜɪs ʀᴀɢᴇ sᴡᴇʟʟ, ғᴇᴇᴅɪɴɢ ᴏғғ ᴇᴀᴄʜ ɪɴᴊᴜʀʏ ʟɪᴋᴇ ғᴜᴇʟ ᴛᴏ ᴀ ғɪʀᴇ.

“I ᴡᴀs ᴀғʀᴀɪᴅ ᴍʏ ᴋɪᴛᴛᴇɴ ɢᴏᴛ ʜᴜʀᴛ ᴡɪᴛʜᴏᴜᴛ ᴍᴇ ᴋɴᴏᴡɪɴɢ.” Hɪs ᴠᴏɪᴄᴇ ᴅʀᴏᴘᴘᴇᴅ ᴛᴏ ᴀ ᴠᴇɴᴏᴍᴏᴜs ɢʀᴏᴡʟ. “Sᴇᴇᴍs sʜᴇ ᴡᴀs ʜɪᴅɪɴɢ ɪɴ ᴀ ᴄᴏʀɴᴇʀ ᴛᴏ ʟɪᴄᴋ ʜᴇʀ ᴡᴏᴜɴᴅs.”

Hɪs ʙʀᴇᴀᴛʜ ᴡᴀs ʜᴏᴛ ᴀɢᴀɪɴsᴛ ᴍʏ sᴋɪɴ ᴀs ʜᴇ ʟᴇᴀɴᴇᴅ ɪɴ, ʜɪs ᴄʀɪᴍsᴏɴ ᴇʏᴇs ʙʟᴀᴢɪɴɢ ᴡɪᴛʜ ᴜɴʙʀɪᴅʟᴇᴅ ᴇᴍᴏᴛɪᴏɴ. Tʜɪs ᴡᴀsɴ'ᴛ ᴛʜᴇ Sʏʟᴜs I ᴡᴀs ᴜsᴇᴅ ᴛᴏ. Hᴇ ᴡᴀs ᴀʟᴡᴀʏs ᴄᴏᴍᴘᴏsᴇᴅ, ᴇᴠᴇɴ ɪɴ ᴀɴɢᴇʀ. Tʜᴇʀᴇ ᴡᴀs sᴏᴍᴇᴛʜɪɴɢ ᴀʟᴍᴏsᴛ ɢʀᴀᴄᴇғᴜʟ ᴀʙᴏᴜᴛ ɪᴛ—ɢʀᴀᴄᴇғᴜʟ, ʙᴜᴛ ᴜɴʙᴇᴀʀᴀʙʟʏ ʟᴏɴᴇʟʏ. Bᴜᴛ ɴᴏᴡ, ʜᴇ sᴇᴇᴍᴇᴅ ᴛᴏ ʙᴇ ᴄʀᴀᴄᴋɪɴɢ. Yᴇs, ᴛʜᴇ ᴍɪssɪᴏɴ ʜᴀᴅ ᴛᴀᴋᴇɴ ᴏᴠᴇʀ ᴀ ᴍᴏɴᴛʜ, ᴀɴᴅ ʏᴇs I ʜᴀᴅ ɪɢɴᴏʀᴇᴅ ʜɪᴍ ᴀɴᴅ ɴᴏᴛ ᴛᴏʟᴅ ʜɪᴍ ᴀɴʏᴛʜɪɴɢ ʙᴇғᴏʀᴇ ᴅɪsᴀᴘᴘᴇᴀʀɪɴɢ, ʙᴜᴛ ᴛʜɪs ʀᴇᴀᴄᴛɪᴏɴ ᴡᴀs ғᴀʀ ғʀᴏᴍ ᴡʜᴀᴛ I ᴇxᴘᴇᴄᴛᴇᴅ, ʟᴇᴀsᴛ ᴏғ ᴀʟʟ ғʀᴏᴍ ʜɪᴍ.

“Dɪᴅ ʏᴏᴜ ᴛʜɪɴᴋ ʏᴏᴜ ᴄᴏᴜʟᴅ ᴅᴏ ᴡʜᴀᴛᴇᴠᴇʀ ʏᴏᴜ ᴘʟᴇᴀsᴇ? Nᴏᴡ ᴛʜᴀᴛ I’ᴠᴇ ᴇɴsɴᴀʀᴇᴅ ʏᴏᴜ?” Hɪs ᴠᴏɪᴄᴇ ᴡᴀᴠᴇʀᴇᴅ, ᴛʜᴇ ғᴜʀʏ ᴜɴᴅᴇʀᴄᴜᴛ ʙʏ sᴏᴍᴇᴛʜɪɴɢ ᴍᴏʀᴇ ᴅᴀɴɢᴇʀᴏᴜs—ᴅᴇsᴘᴇʀᴀᴛɪᴏɴ. 

“Yᴏᴜ’ʀᴇ ᴍɪɴᴇ.”

Hɪs ᴡᴏʀᴅs, ᴀs ᴀʟᴡᴀʏs, sᴛʀᴜᴄᴋ ᴀ ᴄʜᴏʀᴅ ᴡɪᴛʜɪɴ ᴍᴇ, ʙᴜᴛ ᴛʜɪs ᴛɪᴍᴇ, ᴛʜᴇʏ ғᴇʟᴛ ᴍᴏʀᴇ ᴘɪᴇʀᴄɪɴɢ. Hᴇ ʜᴀᴅ sᴀɪᴅ ɪᴛ ʙᴇғᴏʀᴇ, ᴛʜᴀᴛ I ᴡᴀs ʜɪs, ʙᴜᴛ ᴡʜᴀᴛ ᴅɪᴅ ʜᴇ ᴛʀᴜʟʏ ᴍᴇᴀɴ? Oᴜʀ ʀᴇʟᴀᴛɪᴏɴsʜɪᴘ ᴡᴀs ᴀɴʏᴛʜɪɴɢ ʙᴜᴛ ᴅᴇғɪɴᴇᴅ. Iᴛ ғᴇʟᴛ ᴍᴏʀᴇ ʟɪᴋᴇ ᴀ ʙᴀᴛᴛʟᴇғɪᴇʟᴅ ᴛʜᴀɴ ᴀ ᴘᴀʀᴛɴᴇʀsʜɪᴘ—ʟɪᴋᴇ ᴡᴇ ᴡᴇʀᴇ ᴇɴᴇᴍɪᴇs ᴍᴏʀᴇ ᴏғᴛᴇɴ ᴛʜᴀɴ ғʀɪᴇɴᴅs ᴏʀ ᴇᴠᴇɴ ᴀʟʟɪᴇs. Aɴᴅ ʏᴇᴛ, ᴛʜᴇʀᴇ ᴡᴀs ᴛʜɪs sᴛʀᴀɴɢᴇ, ɪɴᴇxᴘʟɪᴄᴀʙʟᴇ ᴄᴏɴɴᴇᴄᴛɪᴏɴ ʙᴇᴛᴡᴇᴇɴ ᴜs ᴛʜᴀᴛ ɴᴇɪᴛʜᴇʀ ᴏғ ᴜs ᴄᴏᴜʟᴅ ɪɢɴᴏʀᴇ.

Dᴇsᴘɪᴛᴇ ᴛʜᴇ ʜᴀʀsʜɴᴇss ᴏғ ʜɪs ᴡᴏʀᴅs ᴀɴᴅ ᴛʜᴇ ɪɴᴛᴇɴsɪᴛʏ ᴏғ ʜɪs ɢᴀᴢᴇ, ᴛʜᴇʀᴇ ᴡᴀs sᴏᴍᴇᴛʜɪɴɢ ᴇʟsᴇ ʟᴜʀᴋɪɴɢ ʙᴇɴᴇᴀᴛʜ ɪᴛ ᴀʟʟ. Sᴏᴍᴇᴛʜɪɴɢ I ᴄᴏᴜʟᴅɴ’ᴛ ǫᴜɪᴛᴇ ɢʀᴀsᴘ. I ғᴇʟᴛ ᴀs ᴛʜᴏᴜɢʜ I ᴡᴀs ᴄᴀᴜɢʜᴛ ɪɴ ᴀ ᴡᴇʙ ᴏғ ᴇᴍᴏᴛɪᴏɴs ᴀɴᴅ ᴍᴏᴛɪᴠᴇs ᴛʜᴀᴛ ɴᴇɪᴛʜᴇʀ ᴏғ ᴜs ʜᴀᴅ ғᴜʟʟʏ ᴜɴʀᴀᴠᴇʟᴇᴅ. Hɪs ᴄʟᴀɪᴍ ᴏɴ ᴍᴇ—ᴛʜɪs ᴄᴏɴsᴛᴀɴᴛ ᴅᴇᴄʟᴀʀᴀᴛɪᴏɴ ᴛʜᴀᴛ I ᴡᴀs ʜɪs—ʜᴀᴅ ᴀʟᴡᴀʏs ʙᴇᴇɴ ᴀ ᴍʏsᴛᴇʀʏ. I ᴅɪᴅɴ’ᴛ ᴜɴᴅᴇʀsᴛᴀɴᴅ ᴡʜᴀᴛ ʜᴇ ᴡᴀɴᴛᴇᴅ ғʀᴏᴍ ᴍᴇ, ᴏʀ ᴡʜʏ I ᴄᴏᴜʟᴅɴ’ᴛ sᴇᴇᴍ ᴛᴏ ᴇsᴄᴀᴘᴇ ᴛʜɪs ᴘᴜʟʟ ʙᴇᴛᴡᴇᴇɴ ᴜs.

Iᴛ ᴡᴀs ᴛʀᴜᴇ ᴛʜᴀᴛ ᴛʜᴇʀᴇ ᴡᴀs ᴀ ᴄᴏɴɴᴇᴄᴛɪᴏɴ ʙᴇʏᴏɴᴅ ᴏᴜʀ ᴇᴠᴏʟ-ʟɪɴᴋs, sᴏᴍᴇᴛʜɪɴɢ ᴅᴇᴇᴘᴇʀ ᴀɴᴅ ᴍᴏʀᴇ ᴘʀɪᴍᴀʟ. Iᴛ ᴅʀᴇᴡ ᴜs ᴛᴏɢᴇᴛʜᴇʀ ᴡɪᴛʜ ᴀ ғᴏʀᴄᴇ ᴛʜᴀᴛ ғᴇʟᴛ ʙᴏᴛʜ ᴍᴀɢɴᴇᴛɪᴄ ᴀɴᴅ ᴍᴀᴅᴅᴇɴɪɴɢ. Mᴏsᴛ ᴏғ ᴛʜᴇ ᴛɪᴍᴇ I ғᴇʟᴛ ᴘᴏᴡᴇʀʟᴇss ᴀɢᴀɪɴsᴛ ɪᴛ, ᴀɴᴅ ɴᴏᴡ ᴡᴀs ᴅᴇғɪɴɪᴛᴇʟʏ ᴏɴᴇ ᴏғ ᴛʜᴏsᴇ ᴛɪᴍᴇs.

As ʜᴇ ᴘᴜʟʟᴇᴅ ᴍᴇ ᴄʟᴏsᴇʀ, ʜɪs ʜᴀɴᴅ sʟɪᴅɪɴɢ ᴛᴏ ᴛʜᴇ ʙᴀᴄᴋ ᴏғ ᴍʏ ɴᴇᴄᴋ ɪɴ ᴀ ᴘᴏssᴇssɪᴠᴇ ʜᴏʟᴅ, I ғᴇʟᴛ ʜɪs ғɪɴɢᴇʀs ᴅɪɢ ɪɴᴛᴏ ᴍʏ sᴋɪɴ, ɢʀᴏᴜɴᴅɪɴɢ ᴍᴇ ɪɴ ʜɪs ᴏᴠᴇʀᴡʜᴇʟᴍɪɴɢ ᴘʀᴇsᴇɴᴄᴇ. Hɪs ᴏᴛʜᴇʀ ᴀʀᴍ sɴᴀᴋᴇᴅ ᴀʀᴏᴜɴᴅ ᴍʏ ᴡᴀɪsᴛ, ᴘʀᴇssɪɴɢ ᴀɢᴀɪɴsᴛ ᴍʏ ʀɪʙs ᴡɪᴛʜ ᴊᴜsᴛ ᴇɴᴏᴜɢʜ ғᴏʀᴄᴇ ᴛᴏ sᴇɴᴅ ᴀ sʜᴀʀᴘ ᴊᴏʟᴛ ᴏғ ᴘᴀɪɴ ᴛʜʀᴏᴜɢʜ ᴍᴇ. I ɢᴀsᴘᴇᴅ, ᴀ ᴄʀʏ ᴇsᴄᴀᴘɪɴɢ ʙᴇғᴏʀᴇ I ᴄᴏᴜʟᴅ sᴛᴏᴘ ɪᴛ.

Sʏʟᴜs ғʀᴏᴢᴇ, ʜɪs ᴇʏᴇs ᴡɪᴅᴇɴɪɴɢ ᴀs ᴛʜᴇʏ ғʟɪᴄᴋᴇᴅ ᴅᴏᴡɴ ᴛᴏ ᴍʏ ʙᴀᴛᴛᴇʀᴇᴅ ʜᴜɴᴛᴇʀ’s ᴜɴɪғᴏʀᴍ. Hᴇ sᴇᴇᴍᴇᴅ ᴛᴏ sᴇɴsᴇ ᴛʜᴇ ᴇxᴛᴇɴᴛ ᴏғ ᴍʏ ɪɴᴊᴜʀɪᴇs ᴀʟʟ ᴀᴛ ᴏɴᴄᴇ, ʜɪs ɢᴀᴢᴇ ᴅᴀʀᴋᴇɴɪɴɢ ᴡɪᴛʜ ᴀ ᴍɪx ᴏғ ᴀɴɢᴇʀ ᴀɴᴅ sᴏᴍᴇᴛʜɪɴɢ ᴍᴏʀᴇ ᴘʀɪᴍᴀʟ.

"Tᴀᴋᴇ ᴛʜɪs ᴏғғ. Nᴏᴡ." Hɪs ᴠᴏɪᴄᴇ ᴡᴀs ᴀ ᴄᴏᴍᴍᴀɴᴅ, ᴄᴏʟᴅ ᴀɴᴅ ᴜɴʏɪᴇʟᴅɪɴɢ. 

Tʀᴇᴍʙʟɪɴɢ, I ғᴏʀᴄᴇᴅ ᴍʏsᴇʟғ ᴛᴏ sᴛᴀɴᴅ, ᴛʜᴇ ᴘᴀɪɴ ᴍᴀᴋɪɴɢ ᴇᴀᴄʜ ᴍᴏᴠᴇᴍᴇɴᴛ ᴇxᴄʀᴜᴄɪᴀᴛɪɴɢ ᴀs I ᴘᴀɪɴsᴛᴀᴋɪɴɢʟʏ ʀᴇᴍᴏᴠᴇᴅ ���ʏ ᴄʟᴏᴛʜᴇs. Mʏ sᴋɪɴ ғʟᴜsʜᴇᴅ ᴜɴᴅᴇʀ ʜɪs ɪɴᴛᴇɴsᴇ sᴄʀᴜᴛɪɴʏ, ᴀɴᴅ ᴀs ᴛʜᴇ ʟᴀsᴛ ᴘɪᴇᴄᴇ ғᴇʟʟ ᴀᴡᴀʏ, ʜɪs ᴇʏᴇs ʀᴏᴠᴇᴅ ᴏᴠᴇʀ ᴍᴇ, ʜɪs ᴇxᴘʀᴇssɪᴏɴ ᴜɴʀᴇᴀᴅᴀʙʟᴇ.

“Cᴏᴍᴇ ʜᴇʀᴇ. Lᴇᴛ ᴍᴇ ɢᴇᴛ ᴀ ɢᴏᴏᴅ ʟᴏᴏᴋ ᴀᴛ ʏᴏᴜ.”

Mʏ ᴋɴᴇᴇs ᴡᴏʙʙʟᴇᴅ ᴀs I sᴛᴇᴘᴘᴇᴅ ғᴏʀᴡᴀʀᴅ, ᴍʏ ʙᴏᴅʏ ᴘʀᴏᴛᴇsᴛɪɴɢ ᴡɪᴛʜ ᴇᴠᴇʀʏ ᴍᴏᴠᴇᴍᴇɴᴛ. Hɪs ʜᴀɴᴅs—ᴍᴏʀᴇ ᴄᴀʀᴇғᴜʟ ɴᴏᴡ—ɢʀᴀsᴘᴇᴅ ᴀᴛ ᴍʏ ʜɪᴘs, ʜɪs ғɪɴɢᴇʀs ʙʀᴜsʜɪɴɢ ᴏᴠᴇʀ ᴛʜᴇ ʙʀᴜɪsᴇs ᴀɴᴅ ᴄᴜᴛs ᴛʜᴀᴛ ʟɪᴛᴛᴇʀᴇᴅ ᴍʏ sᴋɪɴ. Gʀᴏᴛᴇsǫᴜᴇ ʙᴏᴜǫᴜᴇᴛs ᴏғ ʙʟᴜᴇ, ᴘᴜʀᴘʟᴇ, ᴀɴᴅ ʙʟᴀᴄᴋ ʙʟᴏᴏᴍᴇᴅ ᴀᴄʀᴏss ᴍʏ ʀɪʙs, ᴍᴏʀᴇ ʙʀᴜɪsᴇs ᴍᴀʀᴋɪɴɢ ᴍʏ ᴛʜɪɢʜs ᴀɴᴅ ᴄᴀʟᴠᴇs. A ғᴇᴡ ᴍᴏʀᴇ ɢᴀsʜᴇs ᴅᴏᴛᴛᴇᴅ ᴍʏ ʙᴏᴅʏ, ʙᴜᴛ ɴᴏɴᴇ ᴀs ʙᴀᴅ ᴀs ᴛʜᴇ ɢᴀsʜ ᴏɴ ᴍʏ ᴀʀᴍ.

I ʜᴀᴅ ʙᴇᴇɴ ᴛʜʀᴏᴡɴ ᴀʀᴏᴜɴᴅ ʙʏ ᴀ Wᴀɴᴅᴇʀᴇʀ ɪɴ ᴛʜᴇ ʀᴜɪɴs ᴏғ ᴛʜᴇ ᴄɪᴛʏ, ᴀɴᴅ ɪᴛ ᴛᴜʀɴᴇᴅ ᴏᴜᴛ ᴛʜᴀᴛ ʀᴜʙʙʟᴇ ᴅɪᴅɴ'ᴛ ᴀɢʀᴇᴇ ᴡɪᴛʜ ᴍᴇ ʙᴇɪɴɢ sʟᴀᴍᴍᴇᴅ ᴀɢᴀɪɴsᴛ ɪᴛ.

Sʏʟᴜs ᴛᴜʀɴᴇᴅ ᴍᴇ ɪɴ ʜɪs ɢʀᴀsᴘ, ʜɪs ᴄᴏʟᴅ, ᴄᴀʟᴄᴜʟᴀᴛɪɴɢ ɢᴀᴢᴇ ɪɴsᴘᴇᴄᴛɪɴɢ ᴇᴠᴇʀʏ ɪɴᴄʜ ᴏғ ᴍᴇ. Hɪs ғɪɴɢᴇʀs ᴛʀᴀᴄᴇᴅ ᴛʜᴇ ᴏᴜᴛʟɪɴᴇ ᴏғ ᴇᴀᴄʜ ʙʀᴜɪsᴇ, ᴀɴᴅ ʜɪs ᴛᴏᴜᴄʜ, ᴛʜᴏᴜɢʜ ᴛᴇɴᴅᴇʀ, sᴇɴᴛ ɪɴᴠᴏʟᴜɴᴛᴀʀʏ sʜɪᴠᴇʀs ᴛʜʀᴏᴜɢʜ ᴍᴇ. Hɪs ʟɪᴘs ᴛᴡɪsᴛᴇᴅ ɪɴᴛᴏ ᴀ ɢʀɪᴍ ᴇxᴘʀᴇssɪᴏɴ, ᴄᴀᴜɢʜᴛ sᴏᴍᴇᴡʜᴇʀᴇ ʙᴇᴛᴡᴇᴇɴ ᴀᴍᴜsᴇᴍᴇɴᴛ ᴀɴᴅ ғᴜʀʏ.

"Yᴏᴜ ᴅɪsᴀᴘᴘᴇᴀʀ ᴡɪᴛʜᴏᴜᴛ ᴛᴇʟʟɪɴɢ ᴍᴇ, ᴅᴏɴ’ᴛ ᴋᴇᴇᴘ ɪɴ ᴛᴏᴜᴄʜ, ᴀɴᴅ ᴛʜᴇɴ ᴄᴏᴍᴇ ʙᴀᴄᴋ ɪɴ ᴛᴀᴛᴛᴇʀs, ᴋɪᴛᴛᴇɴ."

"I'ᴍ sᴏʀʀʏ," I ᴍᴀɴᴀɢᴇᴅ ᴛᴏ ᴄʀᴏᴀᴋ, ᴍʏ ᴠᴏɪᴄᴇ ʜᴏᴀʀsᴇ ᴀɴᴅ ᴛʀᴇᴍʙʟɪɴɢ. Gᴏᴏsᴇʙᴜᴍᴘs ʀᴏsᴇ ᴏɴ ᴍʏ sᴋɪɴ ᴀs ʜɪs ғɪɴɢᴇʀᴛɪᴘs ɢʜᴏsᴛᴇᴅ ᴏᴠᴇʀ ᴍʏ ɪɴᴊᴜʀɪᴇs. Tʜᴇʀᴇ ᴡᴀs ɴᴏᴛʜɪɴɢ ᴋɪɴᴅ ɪɴ ʜɪs ɢᴀᴢᴇ ᴀs ʜᴇ ʟᴏᴏᴋᴇᴅ ᴜᴘ ᴀᴛ ᴍᴇ ғʀᴏᴍ ᴡʜᴇʀᴇ ʜᴇ sᴀᴛ ᴏɴ ᴛʜᴇ ᴇᴅɢᴇ ᴏғ ᴛʜᴇ ʙᴇᴅ. Hɪs ʜᴀɴᴅ ᴛɪɢʜᴛᴇɴᴇᴅ ᴀʀᴏᴜɴᴅ ᴍʏ ᴀʀᴍ, ᴀɴᴅ ᴡɪᴛʜ ᴀ sᴜᴅᴅᴇɴ, ʀᴏᴜɢʜ ᴍᴏᴛɪᴏɴ, ʜᴇ ʏᴀɴᴋᴇᴅ ᴍᴇ ᴅᴏᴡɴ. I ᴄʀɪᴇᴅ ᴏᴜᴛ ᴀs ʜᴇ ᴇᴀsɪʟʏ ғʟɪᴘᴘᴇᴅ ᴍᴇ ᴏɴᴛᴏ ᴍʏ ʙᴀᴄᴋ, ʜɪs ʟᴀʀɢᴇʀ ғʀᴀᴍᴇ ʟᴏᴏᴍɪɴɢ ᴏᴠᴇʀ ᴍᴇ, ᴘɪɴɴɪɴɢ ᴍᴇ ᴅᴏᴡɴ.

Hᴇ ʟᴇᴀɴᴇᴅ ɪɴ ᴄʟᴏsᴇ, ʜɪs ʟɪᴘs ʜᴏᴠᴇʀɪɴɢ ᴅᴀɴɢᴇʀᴏᴜsʟʏ ɴᴇᴀʀ ᴛʜᴇ ʜᴏʟʟᴏᴡ ᴏғ ᴍʏ ɴᴇᴄᴋ. “Yᴏᴜʀ ᴀᴘᴏʟᴏɢɪᴇs ᴀʀᴇ ᴡᴏʀᴛʜʟᴇss ᴛᴏ ᴍᴇ,” ʜᴇ sᴀɪᴅ, ʜɪs ᴠᴏɪᴄᴇ ᴛʜɪᴄᴋ ᴡɪᴛʜ ᴀɴ ᴀɴɢᴇʀ ᴛʜᴀᴛ sᴇᴇᴍᴇᴅ ᴀʟᴍᴏsᴛ ᴘᴀʟᴘᴀʙʟᴇ. I ᴄᴏᴜʟᴅɴ’ᴛ sᴇᴇ ʜɪs ᴇxᴘʀᴇssɪᴏɴ, ʙᴜᴛ ᴛʜᴇ ɪɴᴛᴇɴsɪᴛʏ ᴏғ ʜɪs ʀᴀɢᴇ ᴡᴀs ᴜɴᴅᴇɴɪᴀʙʟᴇ, ʀᴀᴅɪᴀᴛɪɴɢ ғʀᴏᴍ ʜɪᴍ ʟɪᴋᴇ ᴀ ᴛᴀɴɢɪʙʟᴇ ғᴏʀᴄᴇ. I ᴡᴀs ᴘᴀʀᴀʟʏᴢᴇᴅ ᴡɪᴛʜ ғᴇᴀʀ, ᴛᴏᴏ ᴛᴇʀʀɪғɪᴇᴅ ᴛᴏ ᴍᴏᴠᴇ ᴏʀ sᴘᴇᴀᴋ. Hɪs ᴜɴᴘʀᴇᴅɪᴄᴛᴀʙɪʟɪᴛʏ ᴡᴀs ᴏᴠᴇʀᴡʜᴇʟᴍɪɴɢ, ᴀɴᴅ I ᴋɴᴇᴡ I sᴛᴏᴏᴅ ɴᴏ ᴄʜᴀɴᴄᴇ ᴏғ ᴏᴠᴇʀᴘᴏᴡᴇʀɪɴɢ ʜɪᴍ, ᴇᴠᴇɴ ɪғ I ᴡᴇʀᴇɴ’ᴛ ɪɴᴊᴜʀᴇᴅ.

“Aɴʏᴛʜɪɴɢ ᴄᴏᴜʟᴅ ʜᴀᴠᴇ ʜᴀᴘᴘᴇɴᴇᴅ ᴛᴏ ʏᴏᴜ.” Hɪs ʜᴀɴᴅ ᴍᴏᴠᴇᴅ ᴡɪᴛʜ ᴘᴜʀᴘᴏsᴇ, ɢʟɪᴅɪɴɢ ᴜᴘ ᴍʏ ʙᴏᴅʏ ᴜɴᴛɪʟ ʜɪs ғɪɴɢᴇʀs ᴄᴜʀʟᴇᴅ ᴘᴏssᴇssɪᴠᴇʟʏ ᴀʀᴏᴜɴᴅ ᴍʏ ᴛʜʀᴏᴀᴛ, ʜɪs ɢʀɪᴘ ғɪʀᴍ ʙᴜᴛ ɴᴏᴛ sᴜғғᴏᴄᴀᴛɪɴɢ. “Yᴏᴜ ᴄᴏᴜʟᴅ ʜᴀᴠᴇ ᴅɪᴇᴅ,” ʜᴇ ʜɪssᴇᴅ, ʜɪs ʟɪᴘs ɴᴏᴡ ʜᴏᴠᴇʀɪɴɢ ᴊᴜsᴛ ᴀʙᴏᴠᴇ ᴍʏ ᴇᴀʀ. “Aᴡᴀʏ ғʀᴏᴍ ᴍᴇ. Bᴇʏᴏɴᴅ ᴍʏ ʀᴇᴀᴄʜ.” Hɪs ᴠᴏɪᴄᴇ ᴅʀᴏᴘᴘᴇᴅ ᴛᴏ ᴀ ᴡʜɪsᴘᴇʀ, ᴀ ᴄᴏʟᴅ, ᴛᴇʀʀɪғʏɪɴɢ ᴘʀᴏᴍɪsᴇ. “Tʜᴀᴛ ᴡɪʟʟ ɴᴇᴠᴇʀ ʜᴀᴘᴘᴇɴ ᴀɢᴀɪɴ.”

Hɪs ʙʀᴇᴀᴛʜ ᴡᴀs ʜᴏᴛ ᴀɢᴀɪɴsᴛ ᴍʏ sᴋɪɴ, ʜɪs ʙᴏᴅʏ ᴘʀᴇssɪɴɢ ɪɴᴛᴏ ᴍɪɴᴇ ᴡɪᴛʜ ᴀ ғᴏʀᴄᴇ ᴛʜᴀᴛ ᴡᴀs ʙᴏᴛʜ sᴜғғᴏᴄᴀᴛɪɴɢ ᴀɴᴅ ᴄᴏɴsᴜᴍɪɴɢ. Tʜᴇ ᴘʀᴏᴍɪsᴇ ɪɴ ʜɪs ᴠᴏɪᴄᴇ ᴡᴀs ᴀs sʜᴀʀᴘ ᴀɴᴅ ᴜɴʏɪᴇʟᴅɪɴɢ ᴀs ʜɪs ɢʀɪᴘ, ᴀɴᴅ I ᴄᴏᴜʟᴅ ғᴇᴇʟ ᴛʜᴇ ғᴜʟʟ ᴡᴇɪɢʜᴛ ᴏғ ʜɪs ᴇᴍᴏᴛɪᴏɴs ᴘʀᴇssɪɴɢ ᴅᴏᴡɴ ᴏɴ ᴍᴇ. Iᴛ ᴡᴀs ᴄʟᴇᴀʀ ᴛʜᴀᴛ ᴍʏ ᴅᴇғɪᴀɴᴄᴇ, ᴍʏ ᴀʙsᴇɴᴄᴇ, ʜᴀᴅ sᴘᴀʀᴋᴇᴅ ᴀ sᴛᴏʀᴍ ᴡɪᴛʜɪɴ ʜɪᴍ—ᴏɴᴇ ᴛʜᴀᴛ I ᴡᴀs ɴᴏᴡ ᴛʀᴀᴘᴘᴇᴅ ɪɴ, ᴡɪᴛʜ ɴᴏ ᴄʟᴇᴀʀ ᴡᴀʏ ᴏᴜᴛ.