Heroes: More Than Meets the Eye (R, Peter/Mohinder/Eden/Candice tossed in a hat)
Title: More Than Meets the Eye
Characters/Pairings: Mohinder/Eden, Peter/Candice, Peter/Mohinder, Eden/Candice
Rating: R
Summary: Sometimes, the people you see making love aren't really who your binoculars say they are.
Spoilers: sort of for 1.20 "Five Years Gone."
Disclaimer: I claim no ownership of, and make no profit from, characters, plot, or other elements copyrighted by TPTB of Heroes.
A/N: Sort of a mindfrell. The bunny ate its way out of my brain a while ago (like before 5YG even aired), but I just got around to typing it in. I'm not sure what to do with it really, so please leave some feedback so I can dink around with it some more.
In the remains of an apartment somewhere in New York City, Eden McCain and Mohinder Suresh are having sex. They're not quiet about it, though the half-demolished walls bounce echoes out over the streets and the construction to anyone who might be listening. And they're not shy, or they'd have chosen a part of the building with better cover. Anyone watching or listening might have an idea that something is not as it should be, but without knowing more of history and politics than the average squatter in the bombed-out ruins, such a voyeur would have less than half the story and, one way or another, wouldn't care to guess the rest.
A very patient voyeur, whether watching with cameras or a cherished and damning ability, would have a chance of seeing more. How, for instance, the motions are not quite right. There is sex being had-that much is obvious-but the hips move this way instead of that, the moans are timed with touches here instead of there. Moreover, with a telephoto lens, whether glass or biological, our astute observer might note a blurring where darker skin meets light, as if the exact point at which the two bodies mesh is not where it was a moment ago. Perhaps it's not really where it looks like it is now, either.
It'll be more confusing in a moment, when the motion and the sound begin to increase, and real blurs begin to overtake what must be-must be-tricks of the light. When Mohinder comes first, and it makes Eden smile, the watcher's mind might start to guess that it has been fooled. And the way that Eden's body moves, moments later, in the unguarded bliss of orgasm, might confirm that she, at least, is not who she seems to be. Neither of them lives there, but neither will exit the building.
In the remains of an apartment somewhere in what is left of New York City, Peter Petrelli and Candice Willmer are having sex. They can't stand each other, but neither can the world stand them; and the enemy of their enemy has become something completely different from a friend. They need this, each becoming the other's longed-for ghost just so they can endure feeling again. They are hunted, and they are all but alone. And until they find someone to bring love back from its various graves, they will cling to the illusions, the only thing besides each other that they have left.
Characters/Pairings: Mohinder/Eden, Peter/Candice, Peter/Mohinder, Eden/Candice
Rating: R
Summary: Sometimes, the people you see making love aren't really who your binoculars say they are.
Spoilers: sort of for 1.20 "Five Years Gone."
Disclaimer: I claim no ownership of, and make no profit from, characters, plot, or other elements copyrighted by TPTB of Heroes.
A/N: Sort of a mindfrell. The bunny ate its way out of my brain a while ago (like before 5YG even aired), but I just got around to typing it in. I'm not sure what to do with it really, so please leave some feedback so I can dink around with it some more.
In the remains of an apartment somewhere in New York City, Eden McCain and Mohinder Suresh are having sex. They're not quiet about it, though the half-demolished walls bounce echoes out over the streets and the construction to anyone who might be listening. And they're not shy, or they'd have chosen a part of the building with better cover. Anyone watching or listening might have an idea that something is not as it should be, but without knowing more of history and politics than the average squatter in the bombed-out ruins, such a voyeur would have less than half the story and, one way or another, wouldn't care to guess the rest.
A very patient voyeur, whether watching with cameras or a cherished and damning ability, would have a chance of seeing more. How, for instance, the motions are not quite right. There is sex being had-that much is obvious-but the hips move this way instead of that, the moans are timed with touches here instead of there. Moreover, with a telephoto lens, whether glass or biological, our astute observer might note a blurring where darker skin meets light, as if the exact point at which the two bodies mesh is not where it was a moment ago. Perhaps it's not really where it looks like it is now, either.
It'll be more confusing in a moment, when the motion and the sound begin to increase, and real blurs begin to overtake what must be-must be-tricks of the light. When Mohinder comes first, and it makes Eden smile, the watcher's mind might start to guess that it has been fooled. And the way that Eden's body moves, moments later, in the unguarded bliss of orgasm, might confirm that she, at least, is not who she seems to be. Neither of them lives there, but neither will exit the building.
In the remains of an apartment somewhere in what is left of New York City, Peter Petrelli and Candice Willmer are having sex. They can't stand each other, but neither can the world stand them; and the enemy of their enemy has become something completely different from a friend. They need this, each becoming the other's longed-for ghost just so they can endure feeling again. They are hunted, and they are all but alone. And until they find someone to bring love back from its various graves, they will cling to the illusions, the only thing besides each other that they have left.