but i didn't count on this package deal

[musesfool]

I was thinking about seeing Bourne Legacy (THE RENNER) this afternoon since I get out at 2:30, but I will probably just go home and take a nap. I have been getting good sleep but somehow it is not enough - my period has exhausted me this month. I can see it tomorrow since it's supposed to rain all day. Or maybe Sunday. *hands

Comments

[redbrunja]

Another Country:

He sneaks in her window that night, his hands and mouth eager, almost frantic against her skin, and she arches up into every thrust and roll, her whole body alive in a way it isn't with the others, in a way that only the thrill of fighting, or winning, has ever given her.

She feels a sharp thrill of triumph when he slides down the bed to put his mouth to her cunt. She clamps her thighs around his head, and they both know she could easily snap his neck; it makes her orgasm stronger and sweeter to know that he trusts her, or perhaps he just likes the danger. In those days, she could never tell.

The next time she sees him, he doesn't know her at all.

[musesfool]

He sneaks in her window that night, his hands and mouth eager, almost frantic against her skin, and she arches up into every thrust and roll, her whole body alive in a way it isn't with the others, in a way that only the thrill of fighting, or winning, has ever given her.

The window-sneaking is from the comics, and this is about how his memory of her was mostly taken, but they left enough that he could remember her which makes him more desperate, as if he can make himself remember the next time they try to take his memories away. And for Natasha, it's about the difference between having sex as part of her work v. having sex with someone she's chosen because she cares about them.

She feels a sharp thrill of triumph when he slides down the bed to put his mouth to her cunt. She clamps her thighs around his head, and they both know she could easily snap his neck; it makes her orgasm stronger and sweeter to know that he trusts her, or perhaps he just likes the danger. In those days, she could never tell.This is my favorite bit in the

[redbrunja]

Thank you for the commentary - it's a very layered piece and I really liked reading your thoughts on the various emotional forces at play.

[musesfool]

Thanks for asking. I always enjoy talking about my stories. *g*

[lootsfoz]

I could not pick just one passage out of this story...

http://remixredux09.livejournal.com/9570.html

...but I wanted to let you know how much I loved Act 5.

[musesfool]

Thank you! This is one of my favorite stories that I've ever written, and one of the few that actually makes me cry.

I knew that I would need to use this verse: Give sorrow words. The grief that does not speak / Whispers the o'er-fraught heart, and bids it break. for the aftermath of Wash's death.

They lay Wash out in the infirmary after the battle is over and the Alliance doctor the Operative provided has helped Simon patch them all up.

Each of the crew comes by to pay their respects. Zoe sits ramrod straight on Simon's wheeled stool like a queen on a throne greeting her supplicants.

because it's in River's POV, I felt like I could use this sort of high-flown language here. And really, Zoe looks like she should be sitting on a throne somewhere.

River slips in and out with each of them, listening to the grief in their thoughts, the halting sorrow of their words

[musesfool]

River puts the book on the table and ignores the way Simon flushes when he gets a look at it.

She opens to The Tempest and reads, "O, wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't!

Because the planet was named Miranda. Sometimes the obvious connections are best.

"This book isn't broken," she says, though she thinks the people who named Miranda didn't understand what Shakespeare meant. "Poetry is supposed to be like that."

I'm still not sure how Shakespeare fell out of favor 500 years in the future, but River is reclaiming him here.

The silence is startled, and for a long, tense moment, she wonders if she's made a mistake

[red_boromir]

Impact Winter:

Through the mist, Steve can make out a huddled figure sitting on the ledge. He can feel Natasha behind him, so tense she's practically vibrating, and he motions her to stay hidden while he moves out onto the roof

[musesfool]

Through the mist, Steve can make out a huddled figure sitting on the ledge. He can feel Natasha behind him, so tense she's practically vibrating, and he motions her to stay hidden while he moves out onto the roof.

This is Steve seizing the opportunity to take the lead, since he believes he knows what's going on better than Natasha does (and also because he wants to get to Bucky as soon as he can. I think it also shows how thrown Natasha is by how clearly she's broadcasting, because in this story, Steve doesn't really know her all that well, despite having worked together for a while.

"Hey," he says, softly, the way he'd talk to anyone sitting on the ledge of a roof. "Hey, Bucky."

I think Steve would be awesome at talking jumpers down. Or just hanging out until they were ready to talk. You know that page from Superman, where he just hangs out all day with the girl on the ledge? Like that.

The figure half-turns, and Steve gets the impression of a tangle of long wet hair and skin that hasn't seen in the sun in a long time. This is my

[cass404]

I would say it's my normal tendency to revert to banter to defuse highly emotional situations, but since they DO IT IN CANON ("I thought you were dead" / "I thought you were smaller") I feel completely justified here.

I always really like this in your stories.

[musesfool]

Thanks! It's something I'm fond of in other people's fiction, so I do it a lot myself.