A Big Gay Team of Dancing Gays, ch. 5: I'm Looking for an Interruption
Title: A Big Gay Team of Dancing Gays: I'm Looking for an Interruption
Author: lennoxave
Pairing,Character(s): Brittany/Santana/Tina
Rating: R (language and, uh . . . sex)
Word Count: 1,910
Spoilers: Through 2.10, "A Very Glee Christmas."
Summary: Tina feels neglected by Mike. Santana and Brittany decide to make her feel better the only way they know how.
Author's Note on the Series: I'm writing this as a sort of self-challenge. It's going to be a series (oh dear god, I'm writing a series) in which almost every member of New Directions has some degree of queerness to their sexuality. I'm using this as a) a challenge to write pairings, which I almost never do, b) a challenge to write in a wider variety of character voices, and c) a challenge to write slightly angst-ier fic than I usually do.
Author's Note on the Chapter: This can be read as a stand-alone, but to know why characters are where they're at, I'd recommend reading the rest of it.
Prologue
1. Adding Up the Total of a Love That's True (Brittana)
2. What Part of Partie Don't You Understand? (Puck/Artie)
3. This Is a Girl-Girl Thing (Quinn/Mercedes)
4. My Two Feet Can't Find a Way (Sam/Mike)
I'm Looking for an Interruption
Somehow, Brittany and Santana figure out what's going on. Artie and Puck they've been told about, sure, but they figure out the other two couples pretty easily. Santana catches Quinn's hand lingering for way too long on Mercedes's back as they navigate the hallway after lunch (and she should catch it; it was one of her signature moves on Britt back in middle school). Brittany notices an awkward, loaded, but not uncomfortable pause between Sam and Mike one day after glee, the kind that she's only ever seen between people who are dating: Finn and Rachel, Artie and Tina, even Mr. Schue and the guidance counselor.
Santana says that she and Brittany are totally gay-whisperers. Brittany's not really sure what that means, but it sounds sexy, so she agrees.
What's really a credit to their skills, though, is the way they've had Tina's number since the beginning of sophomore year. They snuck into the auditorium to make fun of the glee try-outs, and they heard the “I Kissed a Girl” audition, all right. They made a whole lot of fun of her for it, too. But they've caught the subtext since then: the way Tina's eyes sometimes stray when Rachel wears a short skirt, or how she always licks her bottom lip absentmindedly the first time she sees one of the glee girls model a hot costume (Quinn in her “Start Me Up/Living on a Prayer” outfit comes to mind).
Santana thinks Tina's straight-up (and she'd apologize for the ironic pun, but she doesn't say sorry to anyone but Brittany) lez; Brittany's pretty sure Tina's into both sexes, but the one thing they can agree on?
Is that the girl really needs to get laid.
* * *
Tina doubles over onstage. It's the kind of collapse that comes only after you've sung your heart out.
She's just sung the final glory note in “Superboy and the Invisible Girl.” Kurt introduced her to Next to Normal during their last music exchange over break, when he caught her up on contemporary musical theater and she implored him to give Tori Amos a chance, despite her crazy hippie-fairy-sex lyrics.
She'd fallen in love with the song immediately; she'd spent most of her life both aspiring to be and desperately wishing she wasn't invisible, after all. But she hadn't really felt the lyrics.
She feels them now.
Mike's been acting weird the past week. He's gotten super-close with Sam, and Tina's trying not to be jealous. Mike told her about how much he misses Matt, and she's glad he's made another close friend. And Sam could probably use one, too, considering the whole break-up with Quinn (regardless of how well they both seem to be taking it).
But Mike has ducked out of two their planned study sessions to hang out with Sam, and more often than not, he sits with Sam during glee instead of Tina.
It shouldn't be a big deal. Mike still eats lunch with her, still calls her everyday after school, has kept every one of their date-dates (as opposed to schoolwork-dates, which don't really count since they don't get to do anything fun on those). He hasn't actually done anything wrong, nothing like Artie ever did.
But something has shifted in their relationship, and it's left Tina feeling like she's the Invisible Girl and Sam is Superboy. (Because, seriously? Dye that blonde hair, and the kid basically is.)
That's why she's in the empty auditorium after school on Monday to belt out her feelings. She gets why Rachel does it so often; she feels much, much better now. The song transported her, and even though she was singing a cappella, she could almost hear the accompaniment behind her.
It leaves her breathless, though, and vulnerable, and that's when they come out of the shadows.
“Damn, Tina,” Santana smirks as Brittany provides a round of applause. “Who knew you had that in you?”
“How much did you hear?” Tina asks. Even though they've been in glee for over a year now, Santana and Brittany still intimidate her, and she's terrified of what they're going to say about her performance.
“We saw you going into the auditorium, so we decided to follow you,” Brittany says. “We heard the whole thing.”
Tina silently curses the stage lights and how difficult they make it to see anything else in the room while you're onstage.
“We're being serious,” Santana says, seeming to sense Tina's hesitation to talk to them. “That was fucking amazing.”
“Um . . . thanks,” Tina says, although she's still wary of their motives.
Santana smiles that wicked, wicked smile of hers, and she and Brittany cross the stage and each grab Tina by the arm.
“You know, I don't think we've ever had any girl talk,” Santana says, steering them toward the makeup room. “That's such a shame.”
“Uh-huh,” is all Tina says, because Santana is using her fake-nice voice, and it's freaking her the hell out.
They enter the makeup room, and Brittany shuts the door behind them.
“You seem sad lately,” Brittany says, and Tina is shocked by the fact that Brittany, of anyone she knows, is the one who notices.
“Yeah, you're like an emo Elvira, Mistress of the Dark, and it's bumming us out,” Santana says, perching herself on the makeup counter.
“Why do you care?” Tina asks.
“Because you're hot, and hot people shouldn't be sad,” Brittany answers.
Tina opens her mouth to speak, but immediately shuts it again because, really, how do you respond to that?
Brittany smiles at her and takes her hand. She leads Tina over to a recliner that's been sitting in the makeup room for as long as they've been going to McKinley, probably much longer--just one of many pieces of ephemera from old theater productions that have become permanent fixtures in the space.
Tina sits down without having to be told that's what she's supposed to do.
“See, Tina,” Santana gets up and walks over to her, “we want you to feel better. We want to help you feel better.”
Santana puts her hand on Tina's wrist, and Tina's whole body tenses up. She gets their drift now.
Santana runs her hand up the underside of Tina's arm, the soft, ticklish part, and comes around behind the recliner. She rests her hand on Tina's shoulder and runs a finger across Tina's bare collarbone. The touch makes Tina shiver.
This is a terrible idea. This is a terrible, stupid idea, and no good can possibly come of it.
But Tina feels neglected. She feels horribly neglected, and even when they're together, Mike never touches her like this. As much as she loves him, he never wants to go this far, and Tina wants this, needs this right now, needs to be wanted and desired, needs it like she's never needed anything else before.
Before her brain can remember that she never makes good decisions when she's feeling ignored, Santana leans over and whispers in her ear, all warm, moist, sexy breathiness.
“Do you trust us?” she asks.
“No,” Tina whispers back, because it's the truth.
Santana throws back her head and laughs at that, and it's a real, amused laugh, so unlike her usual derisive one. It makes Tina think that Santana ought to laugh like that more often; she's much more attractive when she's happy than when she's being an enormous bitch.
“Fair enough. Do you want us to stop?” Santana asks, quirking an eyebrow. By now, Brittany is kneeling in front of Tina and has one hand snaked up under her skirt and tracing a line up her leg. Tina can feel her face flushing as Brittany's hand moves higher.
“No,” she says immediately. On the list of things she wants them to do, that is the absolute last thing. “No.”
Brittany and Santana exchange a glance, and whatever crazy unspoken communication has just transpired causes Santana to bite her bottom lip and make an “mmm” sound. She reaches down and flips the handle on the recliner. The chair's broken, though, and the footrest doesn't pop up; only the back reclines.
Tina lets out a little squeak of surprise as her upper body falls backwards with the chair.
“Just sit back and relax,” Santana smirks, “and let us take care of you.”
Tina can distantly feel Brittany unzipping and removing her boots. More importantly, Santana leans over and kisses her.
It's slow at first, and Santana's more tentative than Tina would have imagined. Too tentative, and Tina finds herself reaching up and and grabbing a fistful of Santana's hair, pulling her closer and deepening the kiss. Tina can't get enough of this new sensation, so familiar but so different, a softness she's never felt when kissing someone before, and soon she's basically shoving her tongue down Santana's throat.
“Now that's what I like see,” Santana says, her voice planted so firmly in its lower register she sounds downright sultry. She pulls back briefly to pull her hair (now a huge mess, thanks to Tina) out of its pony tail, and then she's back again, kissing Tina just as hard as Tina had been kissing her.
And then Tina can feel Brittany grabbing her legs and tugging her closer to the edge of the chair.
“What--” she starts to say, but she's cut off by Santana's tongue.
“Don't worry about it,” Santana whispers. “Britt's got you covered.” And Santana hoists herself over the arm of the chair until she's straddling Tina's stomach. The angle's a little awkward, but there's more full-body contact than before, and Santana is just so fucking warm, that Tina lets out a little noise of contentment.
“This isn't even the good part,” Santana grins, and she starts kissing her way down Tina's neck.
It's then that Tina realizes why they're situated the way they are, because she feels Brittany pushing up her skirt and pulling down her underwear.
“Oh, god,” Tina breaths as Brittany licks her tongue along the inside of Tina's thigh. That's nothing compared to what she feels when Brittany finally hits her mark, though.
Tina's barely hit second base before this and now Brittany's going down on her while Santana has started taking full advantage of the low-cut shirt Tina's wearing and is leaving hickeys all over her breasts.
It's no surprise it doesn't take Tina very long to come.
“I told you we'd help you feel better,” Santana says with a laugh, and she gives Tina one final kiss before getting off of the chair, grabbing Brittany by the hand (“I'm ready to pop; let's hit the janitor's closet now, babe.”), and leaving Tina to recover on the recliner.
Tina sits there for a while, still in shock at how good that felt and at the fact it happened in the first place. Finally, she gets up and puts her underwear and boots back on. She walks back out onstage where she left her purse and discovers that her phone has vibrated itself out of her bag.
1 missed call: Mike Chang, it says.
And the truth Tina has spent the last five minutes pretending not to know finally smacks her in the head. And the heart.
Fuck.
Author: lennoxave
Pairing,Character(s): Brittany/Santana/Tina
Rating: R (language and, uh . . . sex)
Word Count: 1,910
Spoilers: Through 2.10, "A Very Glee Christmas."
Summary: Tina feels neglected by Mike. Santana and Brittany decide to make her feel better the only way they know how.
Author's Note on the Series: I'm writing this as a sort of self-challenge. It's going to be a series (oh dear god, I'm writing a series) in which almost every member of New Directions has some degree of queerness to their sexuality. I'm using this as a) a challenge to write pairings, which I almost never do, b) a challenge to write in a wider variety of character voices, and c) a challenge to write slightly angst-ier fic than I usually do.
Author's Note on the Chapter: This can be read as a stand-alone, but to know why characters are where they're at, I'd recommend reading the rest of it.
Prologue
1. Adding Up the Total of a Love That's True (Brittana)
2. What Part of Partie Don't You Understand? (Puck/Artie)
3. This Is a Girl-Girl Thing (Quinn/Mercedes)
4. My Two Feet Can't Find a Way (Sam/Mike)
I'm Looking for an Interruption
Somehow, Brittany and Santana figure out what's going on. Artie and Puck they've been told about, sure, but they figure out the other two couples pretty easily. Santana catches Quinn's hand lingering for way too long on Mercedes's back as they navigate the hallway after lunch (and she should catch it; it was one of her signature moves on Britt back in middle school). Brittany notices an awkward, loaded, but not uncomfortable pause between Sam and Mike one day after glee, the kind that she's only ever seen between people who are dating: Finn and Rachel, Artie and Tina, even Mr. Schue and the guidance counselor.
Santana says that she and Brittany are totally gay-whisperers. Brittany's not really sure what that means, but it sounds sexy, so she agrees.
What's really a credit to their skills, though, is the way they've had Tina's number since the beginning of sophomore year. They snuck into the auditorium to make fun of the glee try-outs, and they heard the “I Kissed a Girl” audition, all right. They made a whole lot of fun of her for it, too. But they've caught the subtext since then: the way Tina's eyes sometimes stray when Rachel wears a short skirt, or how she always licks her bottom lip absentmindedly the first time she sees one of the glee girls model a hot costume (Quinn in her “Start Me Up/Living on a Prayer” outfit comes to mind).
Santana thinks Tina's straight-up (and she'd apologize for the ironic pun, but she doesn't say sorry to anyone but Brittany) lez; Brittany's pretty sure Tina's into both sexes, but the one thing they can agree on?
Is that the girl really needs to get laid.
* * *
Tina doubles over onstage. It's the kind of collapse that comes only after you've sung your heart out.
She's just sung the final glory note in “Superboy and the Invisible Girl.” Kurt introduced her to Next to Normal during their last music exchange over break, when he caught her up on contemporary musical theater and she implored him to give Tori Amos a chance, despite her crazy hippie-fairy-sex lyrics.
She'd fallen in love with the song immediately; she'd spent most of her life both aspiring to be and desperately wishing she wasn't invisible, after all. But she hadn't really felt the lyrics.
She feels them now.
Mike's been acting weird the past week. He's gotten super-close with Sam, and Tina's trying not to be jealous. Mike told her about how much he misses Matt, and she's glad he's made another close friend. And Sam could probably use one, too, considering the whole break-up with Quinn (regardless of how well they both seem to be taking it).
But Mike has ducked out of two their planned study sessions to hang out with Sam, and more often than not, he sits with Sam during glee instead of Tina.
It shouldn't be a big deal. Mike still eats lunch with her, still calls her everyday after school, has kept every one of their date-dates (as opposed to schoolwork-dates, which don't really count since they don't get to do anything fun on those). He hasn't actually done anything wrong, nothing like Artie ever did.
But something has shifted in their relationship, and it's left Tina feeling like she's the Invisible Girl and Sam is Superboy. (Because, seriously? Dye that blonde hair, and the kid basically is.)
That's why she's in the empty auditorium after school on Monday to belt out her feelings. She gets why Rachel does it so often; she feels much, much better now. The song transported her, and even though she was singing a cappella, she could almost hear the accompaniment behind her.
It leaves her breathless, though, and vulnerable, and that's when they come out of the shadows.
“Damn, Tina,” Santana smirks as Brittany provides a round of applause. “Who knew you had that in you?”
“How much did you hear?” Tina asks. Even though they've been in glee for over a year now, Santana and Brittany still intimidate her, and she's terrified of what they're going to say about her performance.
“We saw you going into the auditorium, so we decided to follow you,” Brittany says. “We heard the whole thing.”
Tina silently curses the stage lights and how difficult they make it to see anything else in the room while you're onstage.
“We're being serious,” Santana says, seeming to sense Tina's hesitation to talk to them. “That was fucking amazing.”
“Um . . . thanks,” Tina says, although she's still wary of their motives.
Santana smiles that wicked, wicked smile of hers, and she and Brittany cross the stage and each grab Tina by the arm.
“You know, I don't think we've ever had any girl talk,” Santana says, steering them toward the makeup room. “That's such a shame.”
“Uh-huh,” is all Tina says, because Santana is using her fake-nice voice, and it's freaking her the hell out.
They enter the makeup room, and Brittany shuts the door behind them.
“You seem sad lately,” Brittany says, and Tina is shocked by the fact that Brittany, of anyone she knows, is the one who notices.
“Yeah, you're like an emo Elvira, Mistress of the Dark, and it's bumming us out,” Santana says, perching herself on the makeup counter.
“Why do you care?” Tina asks.
“Because you're hot, and hot people shouldn't be sad,” Brittany answers.
Tina opens her mouth to speak, but immediately shuts it again because, really, how do you respond to that?
Brittany smiles at her and takes her hand. She leads Tina over to a recliner that's been sitting in the makeup room for as long as they've been going to McKinley, probably much longer--just one of many pieces of ephemera from old theater productions that have become permanent fixtures in the space.
Tina sits down without having to be told that's what she's supposed to do.
“See, Tina,” Santana gets up and walks over to her, “we want you to feel better. We want to help you feel better.”
Santana puts her hand on Tina's wrist, and Tina's whole body tenses up. She gets their drift now.
Santana runs her hand up the underside of Tina's arm, the soft, ticklish part, and comes around behind the recliner. She rests her hand on Tina's shoulder and runs a finger across Tina's bare collarbone. The touch makes Tina shiver.
This is a terrible idea. This is a terrible, stupid idea, and no good can possibly come of it.
But Tina feels neglected. She feels horribly neglected, and even when they're together, Mike never touches her like this. As much as she loves him, he never wants to go this far, and Tina wants this, needs this right now, needs to be wanted and desired, needs it like she's never needed anything else before.
Before her brain can remember that she never makes good decisions when she's feeling ignored, Santana leans over and whispers in her ear, all warm, moist, sexy breathiness.
“Do you trust us?” she asks.
“No,” Tina whispers back, because it's the truth.
Santana throws back her head and laughs at that, and it's a real, amused laugh, so unlike her usual derisive one. It makes Tina think that Santana ought to laugh like that more often; she's much more attractive when she's happy than when she's being an enormous bitch.
“Fair enough. Do you want us to stop?” Santana asks, quirking an eyebrow. By now, Brittany is kneeling in front of Tina and has one hand snaked up under her skirt and tracing a line up her leg. Tina can feel her face flushing as Brittany's hand moves higher.
“No,” she says immediately. On the list of things she wants them to do, that is the absolute last thing. “No.”
Brittany and Santana exchange a glance, and whatever crazy unspoken communication has just transpired causes Santana to bite her bottom lip and make an “mmm” sound. She reaches down and flips the handle on the recliner. The chair's broken, though, and the footrest doesn't pop up; only the back reclines.
Tina lets out a little squeak of surprise as her upper body falls backwards with the chair.
“Just sit back and relax,” Santana smirks, “and let us take care of you.”
Tina can distantly feel Brittany unzipping and removing her boots. More importantly, Santana leans over and kisses her.
It's slow at first, and Santana's more tentative than Tina would have imagined. Too tentative, and Tina finds herself reaching up and and grabbing a fistful of Santana's hair, pulling her closer and deepening the kiss. Tina can't get enough of this new sensation, so familiar but so different, a softness she's never felt when kissing someone before, and soon she's basically shoving her tongue down Santana's throat.
“Now that's what I like see,” Santana says, her voice planted so firmly in its lower register she sounds downright sultry. She pulls back briefly to pull her hair (now a huge mess, thanks to Tina) out of its pony tail, and then she's back again, kissing Tina just as hard as Tina had been kissing her.
And then Tina can feel Brittany grabbing her legs and tugging her closer to the edge of the chair.
“What--” she starts to say, but she's cut off by Santana's tongue.
“Don't worry about it,” Santana whispers. “Britt's got you covered.” And Santana hoists herself over the arm of the chair until she's straddling Tina's stomach. The angle's a little awkward, but there's more full-body contact than before, and Santana is just so fucking warm, that Tina lets out a little noise of contentment.
“This isn't even the good part,” Santana grins, and she starts kissing her way down Tina's neck.
It's then that Tina realizes why they're situated the way they are, because she feels Brittany pushing up her skirt and pulling down her underwear.
“Oh, god,” Tina breaths as Brittany licks her tongue along the inside of Tina's thigh. That's nothing compared to what she feels when Brittany finally hits her mark, though.
Tina's barely hit second base before this and now Brittany's going down on her while Santana has started taking full advantage of the low-cut shirt Tina's wearing and is leaving hickeys all over her breasts.
It's no surprise it doesn't take Tina very long to come.
“I told you we'd help you feel better,” Santana says with a laugh, and she gives Tina one final kiss before getting off of the chair, grabbing Brittany by the hand (“I'm ready to pop; let's hit the janitor's closet now, babe.”), and leaving Tina to recover on the recliner.
Tina sits there for a while, still in shock at how good that felt and at the fact it happened in the first place. Finally, she gets up and puts her underwear and boots back on. She walks back out onstage where she left her purse and discovers that her phone has vibrated itself out of her bag.
1 missed call: Mike Chang, it says.
And the truth Tina has spent the last five minutes pretending not to know finally smacks her in the head. And the heart.
Fuck.