Hasibe is still not quite used to spending her days in the house, though she's taken to long walks around the neighborhood in the morning to occupy herself--it's not as though she has nothing to do, but she will definitely be happier when she is working more consistently, no matter what path she chooses. (
... )
Because that happens. Meanwhile: he is noticing being noticed at work, in the vein of how hard he pushes himself, although it's not with as much downward force as it once was; he knows better, now, and he has certain ( ... )
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She pushes herself up onto her hands, palms flat, when she spots him in the doorway, and lifts the right to slide it through her insane twisting mane of curly hair. Hasi's smile is automatic, upon seeing him, as though she can't actually help herself (this may be true), sleep-tousled as she is, camisole straps slipping and unnoticed. "I was," she says, ruefully, "and then I was abruptly not, owing to my unconscious's whims. But I'm happy you're home."
And she demonstrates as much by sliding closer, on her knees, to kiss Henry hello.
A lot. It is entirely possible she will never ever tire of this. Also seen on the bed, half hanging over the edge: a book of plays. She'll get to that soon enough, presumably, but first and most important things first. Domesticity aside, Hasi will never really be the traditional housewife type; her version of 'settled,' of a 'welcome home'...still involves her teeth in his lip.
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Mostly kidding, but apparently he has decided to entertain himself by bitching genially about his job. This is actually a good sign, it tends to mean that he likes it, but never mind, it is safe to say he likes this better, their very own charmingly skewed version of domesticity, a house still only mostly unpacked that feels genuinely like a home. He fixes her straps for her, absently, and then realizes belatedly that is just silly and pushes them down again.
....what, they've been separated for like nine hours.
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"Oh," she says, sympathetic, and demonstrating as much with an assortment of shorter, delicate kisses to his mouth and then jawline, "Believe me, I'll send along a memo. It's mostly just that I haven't quite adjusted to six years' of repressed psychic energy being...ah, abruptly unleashed. So I woke up to the furniture levitating."
So casually. She wraps her arms around him with an inhale that is both contented and prepared to cope with the consequences of being able to do what she can. That aside, she knows good and well they are in a similar boat there, and actually at least she has some background there, so...there is that, the fact that in a way she is actually quite lucky. And there is Hasi, all up on her boyfriend, like usual.
"It happens. It'll happen less with time. But clearly you need to unwind after your day, don't you?"
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Sometimes, doubtless, they are deathly serious about the fact that they are neither of them quite human anymore, although as noted she never really was and he's only recently so, but if he thinks in terms of crushing despair all the time it will actually crush him, and there are times it seems like it might as things are. So he judges as long as she doesn't mind, sometimes they're allowed some levity. Especially when there's actual levitation involved.
"But you seem to be equally invested in winding me up first, bella dame." The 'sans merci' part is tacitly implied, he can do that. With his teeth. Correct language is for people who aren't referencing poetry.
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"Well, if we're referencing Keats, maybe I'm trying to get you in my thrall." Apparently sliding her hands underneath his shirt is key in enthralling him. Hasi smiles up at him in the meanwhile, thinking idly that she is still adapting to the height differential--he was already a tall guy, but now even in heels she is often shorter than him. She suspects he gets a kick out of it.
"What can ail thee, knight-at-arms?" This is murmured primarily into his ear (for the ease of applying her teeth immediately thereafter) with all the elegance the lines require, even now, though Hasi switches to more conversational speech soon enough. "I have some things I want to talk to you about, but...they can wait, if you've got something else on your mind. After all, I am at your service."
While she often likes making a show of doing this, it's also pretty much because she is totally comfortable putting off conversation in favor of other things.
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But those reasons are his own now, for him to either own himself or be destroyed by, so: he is forthright, fingertips playing down her spine like over the keys of a piano.
"Nothing but the lack of you," he murmurs in response to what 'ails' him, since they're being poetic, although he is not performative by nature. "I want you like always," this is just ...true, he laughs a little in saying it, sound caught in his throat with his mouth on her collarbones. "But I'll wait, I'm good at that."
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"You are, but I'm not," she laughs in return, as a reminder, "but I'll be good, I'll wait, too ( ... )
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Meanwhile he is just going to spend a lot of time staring delightedly at her; while they have reached as much equilibrium as they're going to regarding Hasi's job (and it helps that they're very careful about communication), he does, as she notes, worry, and while he tries to be as supportive and useful as he can, he was never exactly a saint to begin with, and now he's ...certainly less so ( ... )
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The fact that she has pleased him so much is honestly momentarily incentive enough to make her happy she's considering this choice--obviously there is a good deal more to it, but she does like making him happy in the first place. "I'll probably just work until the end of the month, so if I can sell really hard and get a few big things, we can save up some. I didn't do escorting for very long, so I don't have many regulars that'll be upset, and it helps that I sold all that jewelry--if I got rid of a little more..."
She smiles at Henry, leaning forward to kiss him.
"All the psychology could even be useful, if I combine the two. There are a lot of applications for the both of them together, come to think of it, and acting is actually something I really enjoy, but I didn't really get to explore it as much in the business before. Oh--this is the book."
She offers it to him (Sarah Kane, Complete Plays).
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"Are you on 'Blasted' or 'Cleansed'--" She leans to the side to catch a glimpse of what he's looking at; curiosity apparently satisfied (those are the darkest two that she can think of, Phaedra's Love aside, but that one is pretty rarely used and significantly shorter than the others besides), she looks up at Henry's expression.
"Yeah--there's...a lot of violence, a lot of sex, a lot of the combination of the two, and, well, the first one is all about the Bosnian war, and 'Cleansed' is mostly about an illegal medical facility that tortures its patients." Sort of, anyway. She bites her lip, half-wondering where this is going, half-suspecting she has any idea. Hasibe is more than willing to explain what she can of theater, of this performance aspect of her life, but she is aware that certain things are just not innate in everyone, and she's fine with that; speaking as it personally pertains to herself and Henry, their differences are part of what make them fit together.
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He suspects this will still be the case in another three months, or ten, or a hundred. Even if in this case it isn't necessarily something he's sure he wanted to have to figure out; there's a reason he never looked for any of her movies, and this is markedly different, at least in some respects to what she was doing most recently. "If this is something you really want, then--you should do it, and not be worried about what I think, and I'm sincere about this; I know that--if you give up something you love for someone you love, it's hard not to resent them for it. But I don't know, that might just be me, ( ... )
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Hasi is silent for a while, processing this--she did have some correct suspicions, but there is more to it than she totally realized. She stops biting her lip in order to speak, choosing her words carefully, trying not to make this harder to hear than it has to be. "I will be truthful: there were times with Hyde when I was afraid of that, because...I don't know, sometimes I was actually more afraid of that than dying, honestly; it seemed more plausible, and it would have happened so casually, if it did. But I have those issues, and I have to find some way to deal with them, and some kind of theater catharsis would maybe help in that regard."
Hasi takes a deep breath, and her speech pace speeds up a little as she becomes more certain of how she wants to say what she needs to tell him. "But I don't need to take parts that would involve something like a graphic rape scene; there is a lot else I can do, and honestly, in 'Cleansed,' only one of the women deals with that at all. There are two roles there. And I can find another way ( ... )
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Her hands fold together at the back of his neck when he speaks, after that long, comfortable silence in which they simply and wordlessly acknowledge, once again, the wreckage with which they must contend: it is considerable, but they're strong people, she believes, and they'll be okay. In the meantime, what he says makes her smile glimmer brighter again, at once very fond and aware of the subtext. They don't have to spell out what she was afraid of with Hyde, when that aspect of Henry was separate from him and autonomous and uncontrolled, but being so explicit about how they feel for one another is definitely necessary. Or at least Hasi certainly feels that way ( ... )
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