89.
It's a drabble dump. Since my dryer sounds like it's going to blow up. There is a lot of Glee. There is some Sailor Moon. There is Doctor Who. If you want to drop a request or drop more, drop more too. So here we go.
GLEE
what the heart wants needs (Rachel/Jesse; for magisterequitum)
It's different when she decides that she's just not into it; if she wants to, her teachers tell her, she could be well on her way into respectable programs, programs for doctors and lawyers and all things that make her exhausted just thinking about. This is the problem too: she's thinking about it and thinking about it leads to the decision in the middle of play rehearsal, when Shelby's new group and Mercedes are eyeing her off from the side and the only thing Rachel can think is how exhausted she really is.
She's done thinking about it when she gets home though, when she ignores two missed calls from Finn, greetings from her dads, and walks herself into her closet to pull out the suitcase that she's hidden. It's not too heavy. There isn't much she wants to take; she does open it and from the top, she pulls out the bus ticket the rests against the wrapped sections of jewelry she still loves.
It takes one call too. She's too quiet when she asks: "When I get there, will you pick me up?"
(For the record, it's not like he's going to say and well, you know by now that no and rachel are too entirely separate things in his brain. So when she calls, and she calls, he is already fixing himself extra coffee to stay awake and clearing space in his closet. They have a lot of work to do; he loves her enough to let her use that.)
keep it to those high school days (Rachel/Puck; for tosca1390)
He shows up in New York in the middle of the night and she sees the blood on his shirt; he makes a Buffy joke and she tells him that she hates him, dragging him to the kitchen as he trembles. "It's all real," he says weakly, and she's pressing a wash cloth to his face, his throat, her lashes low. "Fucking Katie Price from Trig was home and happened to be that shit that tried to eat me," he says too.
Except it doesn't come out like that and she listens to him ramble on about blondes and math and spring break in Lima, which somehow equates into something about how he just hates everybody that isn't her and how he shouldn't be surprised. She tries not to tremble or vomit because blood is blood and Puck is Puck and she's sure he's the only one, outside of her fathers that can scare her to death. It's how he catches her too, his fingers drawing into her hair and his mouth pressing against her forehead as he tries and whispers breathe.
She'd laugh if it were funny. "I'm not gonna go and eat you, B," he says.
ASSORTED PROMPTS FOR smc_27
you drive too many fast cars (Puck/Rachel)
Shelby leaves again. Or moves. It's whatever. Quinn's useless as fuck because she's so pissed, maybe pissed enough for them both the second time around, that he can't even be in the same room with her and not feel tired. The part that sucks the most -and there's a part - is that he comes home and finds his Ma at the kitchen table, holding a note with dark eyes and he's getting too many flashbacks to his dad and wants to, like, throw his fucking fist into the wall.
It's easy to go through the excuses in his head: can't call Finn because they're cool but they haven't been that cool in a really long time, shit they're really just getting back to footing and stuff, and then of course, there's Santana and she's going through her own shit and stuff and they're too much alike in that sense. It'll be about fucking and not enough talking or whatever.
But then his phone's in his hand and it's the decision, really, already being made for him; an hour later, Rachel's walking into his room, slow and quiet and then sitting next to him on the bed. He stares too hard at his hands and she's pulling herself up closer, then almost too close, gathering him so that his head drops to her lap. He's quiet, not entirely sure what he's supposed to say - he's a dude and dudes don't lay their heads on girls' lap and he could totally, like, go there and stuff but his head's heavy with Beth and Beth's smile, Beth and her chubby hands and so when he blurts it out, he feels her fingers in his hair.
"I'm sorry," he says to her. "You shouldn't have to feel like this."
Her thumb rubs lightly against his ear. He only feels her shift.
rabbits and a hat (Rachel/Jesse)
"Happy birthday," he says into her ear, voice low as his lips catch the bare end of her lobe. She smiles tiredly into her wine; he's late, of course, and the entrance doesn't go unnoticed - there is Kurt across the room, unsatisfied by her shrug, and then a couple more friends from school, eyeing him curiously as he settles uninvited at the table with her and Ben.
When Jesse turns to Ben, his hand slips under the table; it presses over her knee and her dress, his fingers grazing the inside of her thigh. Ben introduces himself. Part of her wishes that Puck was here. Then there's Jesse's thumb edging against the lace of her panties.
If Ben knew him, he'd be unable to look away from her shift. Or know that her legs are spreading underneath the table and that there is a reason why you shouldn't trust Jesse when he's trying to look like her best friend.
"I've heard so much about you," Ben says.
tea cozies (Rachel/Will)
Finn tells him the first time: she parks her car, the other side of town - you can't really find her, but there are a few, choice spots that you can go and start around. He just gets better at it; after Maria and Emma's parents, he finds her and her car and Rachel sitting with a blanket on the most obscure corner of the park, studying the way the lights seem to reflect against the back edge of the downtown space.
"Would you find me in New York?" she asks, her lips twisting as if it were some kind of private joke. He's sharp enough to know not to tell her or show how easy she knots his insides all by herself. He hates being the romantic sort though: the way the breeze sort of rustles her hair, the bangs that fall into her eyes, and suddenly, suddenly, he's sitting by her and dragging half of the blanket over his legs too.
His question is just as complicated: "Would you let me?"
Rachel laughs.
first, look under your bed (Rachel/Puck; for disco_vendetta)
Rachel's body is slumped against the fence. There is blood on her shirt.
"Fuck you."
Her eyes are wide and she is staring at the sword in her hand, then at him, then back to the sword in her hand. Her skirt is ripped at her thigh.
"No," he sighs. He smacks his hand against his face. "I mean, fucking look at you. You're a fucking tiny thing. This is going to suck."
Rachel's mouth opens. Then it closes. It's in the family, her grandmother used to say. There was a terrible joke in there, of course, as her daddies never left her alone with her grandmother for too long because it was really all about odd, old memories and heavy superstitions. Rachel thinks she should have listened to Santana at this point; she would have been at the party.
Instead, there's a giant thing. It hovers over her, them, it's mouth split and wide, a flash of teeth and flare and the heavy, heavy sense of bad things screaming inside of her. Rachel's hand twitches over the hilt of the sword and she finds her feet spreading apart, her heels digging into the ground.
"You're a jerk," she says. Her ears are ringing. When her eyes narrow, she forgets about the trembling in her fingers. "I bet people tell you that all the time."
The boy rolls his eyes. "Whatever. It's not my fault you're a shining beacon of light for this shit. Get it together, princess. You gotta kill it."
"Ugh." She shakes her head. "You have terrible manners," she says too.
It doesn't matter because the thing has a tongue and the tongue (gross) starts shooting things out at her, like spikes, and she's really, really glad that she's taken so many years of ballet to remember how to move fast and efficiently. The boy's yelling things at her too and she's, like, less than impressed about the whole thing; when she kills the monster, its face splits in half and the skies open up and all she can really think is how she should have just listened to Nana Berry a little more.
The boy tells her to call him Puck. She says, and rather primly, it's a stupid name.
(Noah comes later, of course.)
SAILOR MOON
that old thing (Minako/Kunzite; for magisterequitum
Usagi takes her by hand, after. Their fingers lace; her mouth fades into a slight frown, her eyes glued to the former general by which Mamoru stands - Mamoru, Minako thinks bitterly, loyal to a fault. She draws strength from her princess though, straightening next to her even as her hand trembles against the other girl's, even as Usagi steps in front of her, placing herself between Kunzite - Kris - and herself.
"We do this the right way, Mamo-chan," she says firmly, and everyone knows that this is Serenity speaking, sharp eyes and heavy mouth. Her head tilts. Minako stares hard at the space over Kris' shoulder, focusing on the brick of the building. "You should take Kris home," she says. "Mina-chan and I have our weekly walks with Setsuna-san."
The Prince nods and Minako swallows, her throat tighten as Kris' mouth contorts into the strangest of smiles, a half-frown, a half-display of amusement, and her stomach twists back into knots. You always knew he would be back, she tells herself.
(Usagi is the only one that gets to see her cry.)
ASSORTED STUFF for tosca1390
compulsions (Usagi/Mamoru)
They meet in college. Not in college; Usagi is at the Academy, Mamoru is studying too hard with Ami and their exams and it's strange, how a sensible, accidental coffee leads to all of this. "So you're a dancer," he says, starts, and it's awkward enough to make her laugh and watch a slight flush color his cheeks and his neck. She doesn't remember if she simply says yes or he apologizes (later, she'll learn this is such a Mamoru thing to do, of course) but it only takes a couple of months for them to move in anyway.
Mornings are her favorite; she's bought a mirror for their living room, a rather large, old mirror that spreads against the wall and in front of the couch. He's in the kitchen making breakfast, murmuring about late rounds on the phone as she begins to stretch: her bones crack and ache, but her extensions are full. When her palms press into the floor, she laughs breathlessly as she finally sees his feet come into view.
"Usagi," he groans.
Her mouth twists and then she straightens, standing and her hands falling to her hips. "Mamo-chan," she teases, and it's a few long strides to her, his hand in her hair, loose and wavy, as his mouth moves over hers and just catches her lips that way.
This is why.
so says the reaper (Minako/Kunzite (Kris); untitled outtake)
When they were younger, he used to say to her: you won't be able to hide her.
It's simple math, really; the Prince was, is the kind of man that is driven by all things lust and power and sharp, sharp need. Take that and then take love and the circumstances are far more frightening than anyone else could or want to understand. The Princess did. This is what kills her.
But then they both stand over Usagi in the Prince's bed, her hair fanned out over the pillows, the scar written into her cheek and forehead, Zane's tireless work done with tape and stitches. Minako's throat is too tight. Kris touches her arm and for a moment, just a brief moment, she lets him; his palm presses along her wrist, draws over her elbow, and stays flushed against her jacket.
"I won't let you kill him," he says quietly. "Or her, for that matter - you know as well as I do -"
"It's different," Minako insists. Her voice falls darkly. "It's different and you know that. She will choose. She has to."
Kris' fingers dig into her shoulder. He squeezes and her throat tightens again. She doesn't have to look to know; there is something sad and troubling about his gaze. Between them, they care enough about the Prince and Princess to last them lifetimes of equal solitude. There will always be what is underneath though and she is far from ready to give him that too. He took just as much as Endymion did the last time. All from her.
Kris shakes his head. "No," he says. "We're making her."
DOCTOR WHO
kings and queens and things (Rose/Ten; for mylittlepwny)
Rose meets River Song her sixteenth universe; this is closest to the one where he dies and there are knives, a crafty little power outage, and no Donna Noble to call herself a coy friend.
"So." River stands on the beach. Her fingers catch the helmet. "It's not your fault you weren't earlier, you know. In fact, I reckon you're off by a few more years and then some. Just like me. He's a terrible teacher, you know."
Rose's mouth twitches. "I remember."
This is not the first or last time Rose will meet River. They will talk about other things too. Sometimes there is a lot of gold and the sun rings over the beach, hitting the water in such a bleak sort of way, the kind of way a younger Rose would look at and just be entirely too angry - a year or so, of course. For now, Rose picks up her gun and hitches it to her hip. She doesn't point; she looks out into the water and kicks her heels into the sand, shaking her head.
"It's easier," she says. "When he's not 'round," she says too. "It's just easier to be angry at him like that. It all comes down to choice."
River's eyes are kind. "He talks about you in his sleep."
The gun goes off with a quiet snap. The light catches against the water; the astronaut drops to its knees, the helmet lolling under her hand.
Rose will buy a journal to keep counting.
GLEE
what the heart wants needs (Rachel/Jesse; for magisterequitum)
It's different when she decides that she's just not into it; if she wants to, her teachers tell her, she could be well on her way into respectable programs, programs for doctors and lawyers and all things that make her exhausted just thinking about. This is the problem too: she's thinking about it and thinking about it leads to the decision in the middle of play rehearsal, when Shelby's new group and Mercedes are eyeing her off from the side and the only thing Rachel can think is how exhausted she really is.
She's done thinking about it when she gets home though, when she ignores two missed calls from Finn, greetings from her dads, and walks herself into her closet to pull out the suitcase that she's hidden. It's not too heavy. There isn't much she wants to take; she does open it and from the top, she pulls out the bus ticket the rests against the wrapped sections of jewelry she still loves.
It takes one call too. She's too quiet when she asks: "When I get there, will you pick me up?"
(For the record, it's not like he's going to say and well, you know by now that no and rachel are too entirely separate things in his brain. So when she calls, and she calls, he is already fixing himself extra coffee to stay awake and clearing space in his closet. They have a lot of work to do; he loves her enough to let her use that.)
keep it to those high school days (Rachel/Puck; for tosca1390)
He shows up in New York in the middle of the night and she sees the blood on his shirt; he makes a Buffy joke and she tells him that she hates him, dragging him to the kitchen as he trembles. "It's all real," he says weakly, and she's pressing a wash cloth to his face, his throat, her lashes low. "Fucking Katie Price from Trig was home and happened to be that shit that tried to eat me," he says too.
Except it doesn't come out like that and she listens to him ramble on about blondes and math and spring break in Lima, which somehow equates into something about how he just hates everybody that isn't her and how he shouldn't be surprised. She tries not to tremble or vomit because blood is blood and Puck is Puck and she's sure he's the only one, outside of her fathers that can scare her to death. It's how he catches her too, his fingers drawing into her hair and his mouth pressing against her forehead as he tries and whispers breathe.
She'd laugh if it were funny. "I'm not gonna go and eat you, B," he says.
ASSORTED PROMPTS FOR smc_27
you drive too many fast cars (Puck/Rachel)
Shelby leaves again. Or moves. It's whatever. Quinn's useless as fuck because she's so pissed, maybe pissed enough for them both the second time around, that he can't even be in the same room with her and not feel tired. The part that sucks the most -and there's a part - is that he comes home and finds his Ma at the kitchen table, holding a note with dark eyes and he's getting too many flashbacks to his dad and wants to, like, throw his fucking fist into the wall.
It's easy to go through the excuses in his head: can't call Finn because they're cool but they haven't been that cool in a really long time, shit they're really just getting back to footing and stuff, and then of course, there's Santana and she's going through her own shit and stuff and they're too much alike in that sense. It'll be about fucking and not enough talking or whatever.
But then his phone's in his hand and it's the decision, really, already being made for him; an hour later, Rachel's walking into his room, slow and quiet and then sitting next to him on the bed. He stares too hard at his hands and she's pulling herself up closer, then almost too close, gathering him so that his head drops to her lap. He's quiet, not entirely sure what he's supposed to say - he's a dude and dudes don't lay their heads on girls' lap and he could totally, like, go there and stuff but his head's heavy with Beth and Beth's smile, Beth and her chubby hands and so when he blurts it out, he feels her fingers in his hair.
"I'm sorry," he says to her. "You shouldn't have to feel like this."
Her thumb rubs lightly against his ear. He only feels her shift.
rabbits and a hat (Rachel/Jesse)
"Happy birthday," he says into her ear, voice low as his lips catch the bare end of her lobe. She smiles tiredly into her wine; he's late, of course, and the entrance doesn't go unnoticed - there is Kurt across the room, unsatisfied by her shrug, and then a couple more friends from school, eyeing him curiously as he settles uninvited at the table with her and Ben.
When Jesse turns to Ben, his hand slips under the table; it presses over her knee and her dress, his fingers grazing the inside of her thigh. Ben introduces himself. Part of her wishes that Puck was here. Then there's Jesse's thumb edging against the lace of her panties.
If Ben knew him, he'd be unable to look away from her shift. Or know that her legs are spreading underneath the table and that there is a reason why you shouldn't trust Jesse when he's trying to look like her best friend.
"I've heard so much about you," Ben says.
tea cozies (Rachel/Will)
Finn tells him the first time: she parks her car, the other side of town - you can't really find her, but there are a few, choice spots that you can go and start around. He just gets better at it; after Maria and Emma's parents, he finds her and her car and Rachel sitting with a blanket on the most obscure corner of the park, studying the way the lights seem to reflect against the back edge of the downtown space.
"Would you find me in New York?" she asks, her lips twisting as if it were some kind of private joke. He's sharp enough to know not to tell her or show how easy she knots his insides all by herself. He hates being the romantic sort though: the way the breeze sort of rustles her hair, the bangs that fall into her eyes, and suddenly, suddenly, he's sitting by her and dragging half of the blanket over his legs too.
His question is just as complicated: "Would you let me?"
Rachel laughs.
first, look under your bed (Rachel/Puck; for disco_vendetta)
Rachel's body is slumped against the fence. There is blood on her shirt.
"Fuck you."
Her eyes are wide and she is staring at the sword in her hand, then at him, then back to the sword in her hand. Her skirt is ripped at her thigh.
"No," he sighs. He smacks his hand against his face. "I mean, fucking look at you. You're a fucking tiny thing. This is going to suck."
Rachel's mouth opens. Then it closes. It's in the family, her grandmother used to say. There was a terrible joke in there, of course, as her daddies never left her alone with her grandmother for too long because it was really all about odd, old memories and heavy superstitions. Rachel thinks she should have listened to Santana at this point; she would have been at the party.
Instead, there's a giant thing. It hovers over her, them, it's mouth split and wide, a flash of teeth and flare and the heavy, heavy sense of bad things screaming inside of her. Rachel's hand twitches over the hilt of the sword and she finds her feet spreading apart, her heels digging into the ground.
"You're a jerk," she says. Her ears are ringing. When her eyes narrow, she forgets about the trembling in her fingers. "I bet people tell you that all the time."
The boy rolls his eyes. "Whatever. It's not my fault you're a shining beacon of light for this shit. Get it together, princess. You gotta kill it."
"Ugh." She shakes her head. "You have terrible manners," she says too.
It doesn't matter because the thing has a tongue and the tongue (gross) starts shooting things out at her, like spikes, and she's really, really glad that she's taken so many years of ballet to remember how to move fast and efficiently. The boy's yelling things at her too and she's, like, less than impressed about the whole thing; when she kills the monster, its face splits in half and the skies open up and all she can really think is how she should have just listened to Nana Berry a little more.
The boy tells her to call him Puck. She says, and rather primly, it's a stupid name.
(Noah comes later, of course.)
SAILOR MOON
that old thing (Minako/Kunzite; for magisterequitum
Usagi takes her by hand, after. Their fingers lace; her mouth fades into a slight frown, her eyes glued to the former general by which Mamoru stands - Mamoru, Minako thinks bitterly, loyal to a fault. She draws strength from her princess though, straightening next to her even as her hand trembles against the other girl's, even as Usagi steps in front of her, placing herself between Kunzite - Kris - and herself.
"We do this the right way, Mamo-chan," she says firmly, and everyone knows that this is Serenity speaking, sharp eyes and heavy mouth. Her head tilts. Minako stares hard at the space over Kris' shoulder, focusing on the brick of the building. "You should take Kris home," she says. "Mina-chan and I have our weekly walks with Setsuna-san."
The Prince nods and Minako swallows, her throat tighten as Kris' mouth contorts into the strangest of smiles, a half-frown, a half-display of amusement, and her stomach twists back into knots. You always knew he would be back, she tells herself.
(Usagi is the only one that gets to see her cry.)
ASSORTED STUFF for tosca1390
compulsions (Usagi/Mamoru)
They meet in college. Not in college; Usagi is at the Academy, Mamoru is studying too hard with Ami and their exams and it's strange, how a sensible, accidental coffee leads to all of this. "So you're a dancer," he says, starts, and it's awkward enough to make her laugh and watch a slight flush color his cheeks and his neck. She doesn't remember if she simply says yes or he apologizes (later, she'll learn this is such a Mamoru thing to do, of course) but it only takes a couple of months for them to move in anyway.
Mornings are her favorite; she's bought a mirror for their living room, a rather large, old mirror that spreads against the wall and in front of the couch. He's in the kitchen making breakfast, murmuring about late rounds on the phone as she begins to stretch: her bones crack and ache, but her extensions are full. When her palms press into the floor, she laughs breathlessly as she finally sees his feet come into view.
"Usagi," he groans.
Her mouth twists and then she straightens, standing and her hands falling to her hips. "Mamo-chan," she teases, and it's a few long strides to her, his hand in her hair, loose and wavy, as his mouth moves over hers and just catches her lips that way.
This is why.
so says the reaper (Minako/Kunzite (Kris); untitled outtake)
When they were younger, he used to say to her: you won't be able to hide her.
It's simple math, really; the Prince was, is the kind of man that is driven by all things lust and power and sharp, sharp need. Take that and then take love and the circumstances are far more frightening than anyone else could or want to understand. The Princess did. This is what kills her.
But then they both stand over Usagi in the Prince's bed, her hair fanned out over the pillows, the scar written into her cheek and forehead, Zane's tireless work done with tape and stitches. Minako's throat is too tight. Kris touches her arm and for a moment, just a brief moment, she lets him; his palm presses along her wrist, draws over her elbow, and stays flushed against her jacket.
"I won't let you kill him," he says quietly. "Or her, for that matter - you know as well as I do -"
"It's different," Minako insists. Her voice falls darkly. "It's different and you know that. She will choose. She has to."
Kris' fingers dig into her shoulder. He squeezes and her throat tightens again. She doesn't have to look to know; there is something sad and troubling about his gaze. Between them, they care enough about the Prince and Princess to last them lifetimes of equal solitude. There will always be what is underneath though and she is far from ready to give him that too. He took just as much as Endymion did the last time. All from her.
Kris shakes his head. "No," he says. "We're making her."
DOCTOR WHO
kings and queens and things (Rose/Ten; for mylittlepwny)
Rose meets River Song her sixteenth universe; this is closest to the one where he dies and there are knives, a crafty little power outage, and no Donna Noble to call herself a coy friend.
"So." River stands on the beach. Her fingers catch the helmet. "It's not your fault you weren't earlier, you know. In fact, I reckon you're off by a few more years and then some. Just like me. He's a terrible teacher, you know."
Rose's mouth twitches. "I remember."
This is not the first or last time Rose will meet River. They will talk about other things too. Sometimes there is a lot of gold and the sun rings over the beach, hitting the water in such a bleak sort of way, the kind of way a younger Rose would look at and just be entirely too angry - a year or so, of course. For now, Rose picks up her gun and hitches it to her hip. She doesn't point; she looks out into the water and kicks her heels into the sand, shaking her head.
"It's easier," she says. "When he's not 'round," she says too. "It's just easier to be angry at him like that. It all comes down to choice."
River's eyes are kind. "He talks about you in his sleep."
The gun goes off with a quiet snap. The light catches against the water; the astronaut drops to its knees, the helmet lolling under her hand.
Rose will buy a journal to keep counting.