Fic: Once Upon A Future (1/?)
Title: Once Upon A Future (1/?)
Author: tomatoe18
Rating: PG-13 [this chapter]
Pairing(s)/Character(s): Dave Karofsky/Kurt Hummel, Rachel Berry, some OCs
Genre: Future fic, romance, drama, fluff.
Warnings: None.
Spoilers: all of Glee season 1 and 2, probably AU after season 2.
Disclaimer: I don't own Glee or any of its characters. I also don't own any recognizable names or brands that make an appearance in this work of fanfiction. This fanfiction is not made for profit.
Summary: Dave and Kurt find each other again after a 10-year separation.
Author's Notes: I really hope Livejournal would let me post this. This story has been sitting on my computer for two months and just when I was about to post it last Tuesday, the website conked out beyond belief. | This is a future fic. It's what Dave and Kurt would be if they're characters in a Hollywood-made romantic comedy. Fair warning: this is a total self-indulgent fairy tale romance (because I don't have the heart to write more angst for them--I leave that to other people to write). It's a kind of fic that I hope you can read before you go to bed at and smile at as you fall asleep. In other words, mush overload. You are warned.
*
APRIL
The first face David Karofsky sees - really sees - on his first day back in the United States of America is a blast from his past. It's the face of Dave's first love - the love that lasted briefly but left an enduring mark in his soul - but one that Dave nonetheless was happy to see. It's the face of Kurt Hummel.
Time seems to freeze for Dave as he stares at the beautiful porcelain visage of the boy who stole Dave's heart many years ago and never quite gave it back to him. But it's also as if time never did touch Kurt's face.
His porcelain face remains as youthful today as it was ten years ago when they both attended William McKinley High School in Lima, Ohio. They're the same pointed nose, the same rosy cheeks, the same angular jaw and the same luscious, kissable lips... And those eyes are still the same bright pools of blue - or green, depending on the light - that Dave used to drown himself into. They twinkle with mischief and allure at the same time, giving a seductive quality to his mouth that is slightly tilted upwards in a ghost of a smirk.
In other words, Kurt at 28 is still very much the eye candy Dave knew at 18. And this was a pretty damn good "welcome home, son" greeting from Uncle Sam.
A group of Japanese tourists pass by in front of him, breaking his trance-like nostalgic musings, and Dave suddenly remembers where he is: Times Square. Manhattan. New York.
Dave lifts his eyes again to look at Kurt's face again and marvels at how Fancy's face is on full display on a larger-than-life Times Square billboard for all the world to see. His heart thuds in his chest, threatening to burst with either longing for the sexy man who never once left his heart since he'd firmly planted himself there back in high school or pride at the realization that Kurt is modeling designer clothes on a Times Square billboard.
Or, well, lack of designer clothes, actually -- this was, after all, a cK jeans advertisement where Kurt's body is clad in just the one pair of jeans with a pair of underwear beneath them. Dave's smile grows even bigger when he sees that, despite his half-nakedness and the suggestive pose, the ad still comes across tastefully made and elegant. That's Kurt Hummel for you: bringing class to everything he does.
Pride decides to surge higher and trumps longing, sending it drowning to the deep recesses of Dave's heart. He lets go of the 'what ifs' and smiles again at Fancy's picture. Nodding at the billboard, he whispers, "Well, Fancy, looks like you've made it."
MAY
"Cross the street and don't slow down when you pass her by," the translator translates, "but turn your head slightly to the side to look at her and follow her with your gaze. You got that?"
Kurt nods, smiling wryly. He doesn't actually need a translator - his French is more than just passable, thank you very much - but he guesses that no one wants to take any chances. Cheekily, he decides to say, "Oui, je comprends."
The translator chuckles and shakes her head as she steps aside to give Kurt more room. The French director standing next to her grins and pats Kurt on the back. "Bien, Kurt, merci. On commence tout de suite, ca va?."
He turns and crosses the street to get to his next point, leaving Kurt with the make-up artist who fixes his lip color by adding a layer of gloss. She checks the whole look for one more time before giving him the thumbs up and stepping aside as well. Once he's alone, he immediately practices turning his head. Even though they're probably going to make him do multiple takes, he wants to try and get it right on the first try. Luckily for him, the person he's supposed to be "following with his gaze" is someone he's been looking at since high school, so he's gotten a lot of practice even before this.
Across the street, on the other side of the crossing, surrounded by even more people than Kurt is, stands Broadway star and Academy Award-nominee Rachel Berry. She's wearing a feminine yet very stylish '60s-esque Chanel ensemble in azure, carrying a handbag that Kurt knows costs an arm and a kidney, and looking herself like she's worth millions of dollars. She probably does; everyone knows Ms. Berry's paycheck always has a 7-digit figure on it.
As Kurt watches her, Rachel suddenly seems to notice his gaze on her because she looks away from the stylist who is trying to adjust the way her bangs fall and meets Kurt's eyes from the other side of the Parisian road. She breaks into a smile and gives him a little wave. Before Kurt can wave back to her, the director arrives beside her and calls her name. She breaks their eye contact and turns to give the metteur-en-scene her full attention.
While he continues to wait some more, Kurt absently thinks about how this is the first time he's ever done a Chanel campaign. He'd done Dior Homme and walked for various French designers, but never Chanel. He used to wonder why but then he heard through the grapevines that the current director of the brand liked his male models to be, well, male. Kurt Hummel was simply too androgynous to be 'male'. Back in high school or his early years of college, he'd have flipped at the insinuation that because he was gay, he was less of a man. However, as he advanced in his age, education and career, he learned that he needed to stop being such a sensitive bitch and start acting more like a professional. Since he got his big break in modeling thanks to his looks, which decidedly did not ooze with heavy duty manliness, he learned to be grateful for whatever he could get.
Now, however, he was already in a position where he could choose the projects that he was offered. The upside of being a model with a perpetual youthful look is that, at 28, he has yet to run out of jobs. He merely refuses the jobs that ask him to wear a dress or a drag costume or put him in a feminine light and accepts the ones where he can flaunt his masculinity despite his sexual orientation. When Chanel came knocking at his door, begging him to star in their new Chanel No. 5 movie, Kurt bit back a smug response and answered politely that he would be honored.
"Hey, Tom, do you have a minute? DK sent me something and you need to look at this on my phone," someone says from behind Kurt. The person is speaking with American accent and Kurt assumes he's part of the American DoP's camera crew that the director brought to Paris for the shoot.
"Can't it wait? I'm in the middle of something here, man," the one called Tom replies.
"This is urgent. And didn't I say that this is from Karofsky? You know he doesn't like to be made to wait, dude," the first person says.
The name freezes Kurt instantly. Karofsky. How long has it been since he heard that name? Nine? Ten years? No, no... not that long. It's more like eight.
After high school Kurt tried to keep in touch with David Karofsky, his bully-turned-protector-turned-senior prom date, but with their college schedules, their communication tapered off to nothingness after a year. The last time Kurt heard of the former jock was in a conversation with his stepbrother, Finn, who said that Karofsky was taking a year off his studies to go backpacking in Europe. That was at the beginning of Kurt's third year in NYU. After that Karofsky - Dave - seemingly disappeared from the face of the earth and no one had heard from him again since.
But this Karofsky and Kurt's Karofsky can't be the same person... can it?
"Oh, all right. Give me the phone," Tom sighs resignedly. "Just so you know, I'm going to call Dave tonight and give him shit for making me do this in the middle of a shoot."
Apparently, it can. There's no doubt about it. They are talking about Kurt's old schoolmate, David Karofsky. What are the odds that he's hearing Dave's name now after ten years not seeing the guy?
"All right, everybody!" the director calls out loudly. "We are ready to begin! Positions, s'il vous plait!"
The entire crew scrambles to position at the cue and someone gently steers Kurt to his starting mark. As soon as the famed filmmaker Rémi Bezançon calls out "Positions!" for the first take of their Chanel No. 5 movie, Kurt promptly pushes David and his past out of his mind and focuses on his present. He tells himself that it's probably just a coincidence and nothing more and At Rémi's "action!" Kurt begins what he does best: he models.
To be continued
Author: tomatoe18
Rating: PG-13 [this chapter]
Pairing(s)/Character(s): Dave Karofsky/Kurt Hummel, Rachel Berry, some OCs
Genre: Future fic, romance, drama, fluff.
Warnings: None.
Spoilers: all of Glee season 1 and 2, probably AU after season 2.
Disclaimer: I don't own Glee or any of its characters. I also don't own any recognizable names or brands that make an appearance in this work of fanfiction. This fanfiction is not made for profit.
Summary: Dave and Kurt find each other again after a 10-year separation.
Author's Notes: I really hope Livejournal would let me post this. This story has been sitting on my computer for two months and just when I was about to post it last Tuesday, the website conked out beyond belief. | This is a future fic. It's what Dave and Kurt would be if they're characters in a Hollywood-made romantic comedy. Fair warning: this is a total self-indulgent fairy tale romance (because I don't have the heart to write more angst for them--I leave that to other people to write). It's a kind of fic that I hope you can read before you go to bed at and smile at as you fall asleep. In other words, mush overload. You are warned.
*
APRIL
The first face David Karofsky sees - really sees - on his first day back in the United States of America is a blast from his past. It's the face of Dave's first love - the love that lasted briefly but left an enduring mark in his soul - but one that Dave nonetheless was happy to see. It's the face of Kurt Hummel.
Time seems to freeze for Dave as he stares at the beautiful porcelain visage of the boy who stole Dave's heart many years ago and never quite gave it back to him. But it's also as if time never did touch Kurt's face.
His porcelain face remains as youthful today as it was ten years ago when they both attended William McKinley High School in Lima, Ohio. They're the same pointed nose, the same rosy cheeks, the same angular jaw and the same luscious, kissable lips... And those eyes are still the same bright pools of blue - or green, depending on the light - that Dave used to drown himself into. They twinkle with mischief and allure at the same time, giving a seductive quality to his mouth that is slightly tilted upwards in a ghost of a smirk.
In other words, Kurt at 28 is still very much the eye candy Dave knew at 18. And this was a pretty damn good "welcome home, son" greeting from Uncle Sam.
A group of Japanese tourists pass by in front of him, breaking his trance-like nostalgic musings, and Dave suddenly remembers where he is: Times Square. Manhattan. New York.
Dave lifts his eyes again to look at Kurt's face again and marvels at how Fancy's face is on full display on a larger-than-life Times Square billboard for all the world to see. His heart thuds in his chest, threatening to burst with either longing for the sexy man who never once left his heart since he'd firmly planted himself there back in high school or pride at the realization that Kurt is modeling designer clothes on a Times Square billboard.
Or, well, lack of designer clothes, actually -- this was, after all, a cK jeans advertisement where Kurt's body is clad in just the one pair of jeans with a pair of underwear beneath them. Dave's smile grows even bigger when he sees that, despite his half-nakedness and the suggestive pose, the ad still comes across tastefully made and elegant. That's Kurt Hummel for you: bringing class to everything he does.
Pride decides to surge higher and trumps longing, sending it drowning to the deep recesses of Dave's heart. He lets go of the 'what ifs' and smiles again at Fancy's picture. Nodding at the billboard, he whispers, "Well, Fancy, looks like you've made it."
MAY
"Cross the street and don't slow down when you pass her by," the translator translates, "but turn your head slightly to the side to look at her and follow her with your gaze. You got that?"
Kurt nods, smiling wryly. He doesn't actually need a translator - his French is more than just passable, thank you very much - but he guesses that no one wants to take any chances. Cheekily, he decides to say, "Oui, je comprends."
The translator chuckles and shakes her head as she steps aside to give Kurt more room. The French director standing next to her grins and pats Kurt on the back. "Bien, Kurt, merci. On commence tout de suite, ca va?."
He turns and crosses the street to get to his next point, leaving Kurt with the make-up artist who fixes his lip color by adding a layer of gloss. She checks the whole look for one more time before giving him the thumbs up and stepping aside as well. Once he's alone, he immediately practices turning his head. Even though they're probably going to make him do multiple takes, he wants to try and get it right on the first try. Luckily for him, the person he's supposed to be "following with his gaze" is someone he's been looking at since high school, so he's gotten a lot of practice even before this.
Across the street, on the other side of the crossing, surrounded by even more people than Kurt is, stands Broadway star and Academy Award-nominee Rachel Berry. She's wearing a feminine yet very stylish '60s-esque Chanel ensemble in azure, carrying a handbag that Kurt knows costs an arm and a kidney, and looking herself like she's worth millions of dollars. She probably does; everyone knows Ms. Berry's paycheck always has a 7-digit figure on it.
As Kurt watches her, Rachel suddenly seems to notice his gaze on her because she looks away from the stylist who is trying to adjust the way her bangs fall and meets Kurt's eyes from the other side of the Parisian road. She breaks into a smile and gives him a little wave. Before Kurt can wave back to her, the director arrives beside her and calls her name. She breaks their eye contact and turns to give the metteur-en-scene her full attention.
While he continues to wait some more, Kurt absently thinks about how this is the first time he's ever done a Chanel campaign. He'd done Dior Homme and walked for various French designers, but never Chanel. He used to wonder why but then he heard through the grapevines that the current director of the brand liked his male models to be, well, male. Kurt Hummel was simply too androgynous to be 'male'. Back in high school or his early years of college, he'd have flipped at the insinuation that because he was gay, he was less of a man. However, as he advanced in his age, education and career, he learned that he needed to stop being such a sensitive bitch and start acting more like a professional. Since he got his big break in modeling thanks to his looks, which decidedly did not ooze with heavy duty manliness, he learned to be grateful for whatever he could get.
Now, however, he was already in a position where he could choose the projects that he was offered. The upside of being a model with a perpetual youthful look is that, at 28, he has yet to run out of jobs. He merely refuses the jobs that ask him to wear a dress or a drag costume or put him in a feminine light and accepts the ones where he can flaunt his masculinity despite his sexual orientation. When Chanel came knocking at his door, begging him to star in their new Chanel No. 5 movie, Kurt bit back a smug response and answered politely that he would be honored.
"Hey, Tom, do you have a minute? DK sent me something and you need to look at this on my phone," someone says from behind Kurt. The person is speaking with American accent and Kurt assumes he's part of the American DoP's camera crew that the director brought to Paris for the shoot.
"Can't it wait? I'm in the middle of something here, man," the one called Tom replies.
"This is urgent. And didn't I say that this is from Karofsky? You know he doesn't like to be made to wait, dude," the first person says.
The name freezes Kurt instantly. Karofsky. How long has it been since he heard that name? Nine? Ten years? No, no... not that long. It's more like eight.
After high school Kurt tried to keep in touch with David Karofsky, his bully-turned-protector-turned-senior prom date, but with their college schedules, their communication tapered off to nothingness after a year. The last time Kurt heard of the former jock was in a conversation with his stepbrother, Finn, who said that Karofsky was taking a year off his studies to go backpacking in Europe. That was at the beginning of Kurt's third year in NYU. After that Karofsky - Dave - seemingly disappeared from the face of the earth and no one had heard from him again since.
But this Karofsky and Kurt's Karofsky can't be the same person... can it?
"Oh, all right. Give me the phone," Tom sighs resignedly. "Just so you know, I'm going to call Dave tonight and give him shit for making me do this in the middle of a shoot."
Apparently, it can. There's no doubt about it. They are talking about Kurt's old schoolmate, David Karofsky. What are the odds that he's hearing Dave's name now after ten years not seeing the guy?
"All right, everybody!" the director calls out loudly. "We are ready to begin! Positions, s'il vous plait!"
The entire crew scrambles to position at the cue and someone gently steers Kurt to his starting mark. As soon as the famed filmmaker Rémi Bezançon calls out "Positions!" for the first take of their Chanel No. 5 movie, Kurt promptly pushes David and his past out of his mind and focuses on his present. He tells himself that it's probably just a coincidence and nothing more and At Rémi's "action!" Kurt begins what he does best: he models.
To be continued