divineseek

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Favorite Female Characters 3 of ? • Gina Gray (Peaky Blinders 2013 - )

Get to know me meme / requested by @n-lonely

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@divinehide said: just take a few deep breaths.

it's humiliating, is what it is. sam lloyd of all people telling her to calm down, to take deep breaths. evie should tell him to get lost, insist she's fine. go back to the party before anyone misses her, and drown out everything -- the noise, the memories -- hers and everyone else's. the way the ghost of naughty john still finds her in her dreams, steel-blue eyes hot and unforgiving as a branding iron. i see you. it's too much. it's just too much.

she doesn't, though. isn't even sure if she's able to stand, right now, puddled on the floor in a mess of knotted pearl necklaces and glittering party dress, her back against the wall (cold marble a fleeting relief against flushed skin), knees drawn up to her chest like a child in the fetal position. "i --" she hiccups on a half-formed sob, loses what she was going to say.

tries to focus on sam. the sound of his voice, his dark eyes focused on her. evie has no idea why he's here, huddled near the entrance to the ladies' room with her rather than dancing with a girl or getting properly ossified, but she's stupidly, traitorously grateful. acting on impulse, she reaches for his hand, careful not to let her fingers graze his clothing. she's had enough of other peoples' secrets to last a lifetime.

evie shudders on an inhale, lets it out slowly. deep breaths. she's trying not to think of jericho, looking at her like she's some kind of circus freak when she'd revealed her diviner powers. there's so much she's trying not to think about. "i -- i'm all right," she says, unconvincingly. evie o'neill, the great pretender. and then, softer, "can we just stay here? for a minute?"

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CHICAGO 2002 | dir. Rob Marshall

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favourite couples in classic movies

Philip Marlowe and Vivian Sternwood Rutledge (The Big Sleep, 1946)

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“I never wrote that!“

Chicago (2002) dir. Rob Marshall

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Costume series ◆ 1920s (requested by anonymous)

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ANYA TAYLOR-JOY as GINA GRAY peaky blinders, season six

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THE BREAKFAST CLUB (1985) — dir. John Hughes

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Charade (1963)

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Lucy Liu as Kitty Baxter in Chicago, 2002.

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a modern woman, a real new york city girl, wouldn't let him get to her. brush her annoyance off like water off glossy feathers, the sort on evie's favorite headband. but something about sam lloyd gets under her skin -- not to mention, he's managed to wedge himself into working at will's museum, a familiar sight just as unwelcome and unfashionable as the chipped artifacts and scowling portraits.

she still doesn't know what her uncle had been thinking, giving him a job here. security -- what a joke. she wouldn't be feeling secure around him anytime soon, not with the way he stole her twenty dollars. (which he has yet to reimburse, by the by.)

must be from brooklyn, and despite herself, her mouth twitches into a smirk and she breaks her frosty quiet. "lemme see." in a move she'll blame on the boredom of yet another slow day at the museum of the creepy crawlies, evie perches on the table, body angled towards sam, leaning over to glimpse the page. "what an ugly mug... gee, sam, i didn't know you had a little brother." she looks up through kohl-darkened lashes, all cruel coquette. "he's even got your chin."

@divineseek: how did you get in here?

❝  well, dollface, wouldn't you know it? i used my own two feet and the grace the good lord gave me. ❞  he twists at the toothpick between his teeth, grin hanging from the corner of his mouth. sam's legs are hooked, crossed at the ankles, heels of his well - worn shoes flush against the table.

he's no stranger now to her uncle's ghoulish little circus attraction he called a museum, and yet. it brings him a kind of wild amusement, the way evie o'neill's voice jumps in frustration at the sight of him, as though he were a stray cat who'd been fed once and couldn't stop coming back for scraps. hell, in some sick way, maybe he is.

he leans back lightly in his chair, flicking two fingers to one of the pages of the open book spread out in his lap. he pulls the pick, waving it idly toward the picture. ❝  have you seen this thing? baby born with two heads.  ❞ he says, shaking his head in admiration. ❝  must be from brooklyn. ❞

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Betty Compson in The Docks of New York (1928)

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'It' (1927)

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@divinehide said: [ behind ] sender comes up to receiver from behind and wraps their arms around their waist

she half-jumps out of her skin at the contact -- she knows it's sam, of course (besides the smell of his cologne and the feel of his breath on her neck, who else would dare to put their hands on the sweetheart seer, especially now that she's so publicly engaged?) but knowing doesn't stop the instinctual squeak that escapes her lips, enough to make more than a few pedestrians look over, more in curiosity than concern. trust sam lloyd to make her look like a fool. again.

"you absolute --" evie cuts herself off, insult already poised on waiting tongue. there, across the street: her eyes catch sight of a reporter, cameraman in tow. they've been spotted. evie forces her face into a simpering smile, like she's gloria swanson swept up in the throes of romance, and not just a bit player in a lie that's getting bigger by the minute.

"...darling!" she amends hastily, throwing her head back to rest on his shoulder and grinning like he's just said something hysterically funny. (imagine that.) the flashbulb across the street goes off, and evie smiles directly into the light, makes sure they catch her good side -- it's just one reporter for now, but she knows from experience that they like to hunt in packs.

she brings her ungloved hand down to cover sam's, weighs the odds of getting away with subtly pinching him and finding them against her. for now. "you're here. what a nice surprise. whatever is the occasion?" she glances worriedly down at where his arms are creasing the fabric by her waist. if he leaves wrinkles on this dress, i'll simply have to kill him, she decides. she's a diviner, after all, not a saint. she can only put up with so much.

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Barbara Stanwyck as Barbara O'Neill Sally Blane as Molly Ten Cents A Dance (1931)

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PROMPTS FOR PEOPLE WHO REFUSE TO LET ANYONE CARE ABOUT THEM *  assorted dialogue, adjust as necessary

i don't need your help.

i can handle myself.

everyone leaves.

you can't do this alone.

whatever they did to you back then... i'm sorry. but i'm not like that, and i won't abandon you like they did.

you've got bigger things to deal with.

i've been alone all my life. it's nothing new.

don't come over. i can handle it.

please let me care about you.

would you just stop?

i'm used to this.

i tried to help you.

whatever they said about you, they were wrong.

i'm not worth dying for.

suit yourself. you'll regret it tomorrow.

i'm not putting anyone else's life in harm's way.

people care about you. people want to keep you safe.

i don't want you to get hurt over me.

if you die, it'll be my fault.

i love you. you're worth fighting for.

i'm not gonna just sit here and let you do this by yourself.

i'm not worth it, okay?

i don't want you to die.

leave me alone.

this is nothing new.

thanks but no thanks. i don't need your help.

i can't lose you again!

don't make yourself an island.

don't you understand? i can't lose you!

you're not patching this up alone. let me help.

i'm not used to this. being cared about.

you'll just suffer because of me.

i'm not like the rest. i won't leave you.

everyone leaves. maybe it's better that way.

i can handle it just fine, thanks.

i don't need your advice.

stop pushing me away. it won't work.

this is all i've got left.

i'll get over it!

it's better if i just go alone.

let me protect you.

i'll just keep coming back, you know.

it's easier to make people hate me.

if something happens to you, i'll never forgive myself.

i've already lost so many people.

i can patch this up myself.

you've obviously got more important things to deal with.

everyone i love ends up leaving me one way or another.

what if something happens?

this wasn't supposed to go this way.

stop risking your life for me.

i work better alone.

it's safer to just stay away from me.

eventually you'll see i'm not worth it.

every single time i let someone in, they end up disappointing me.

trust me. i know this for a fact.

just leave me be. i'll figure this out myself.

you should go.

you're all i have left.

people around me are always getting hurt.

it's better if you just leave me here.

i can't trust anyone. not anymore.

why do you keep fighting for me?

you have no idea what this is like.

i know you think i'll leave, but i won't. not now. not ever.

you matter to me. i'll say it a thousand times until you understand.

please just let me take care of you.

i work alone.

that won't work on me.

no one's ever really loved me before.

you need help.

so that's it? you're just gonna push me away again?

what's it gonna take for you to realize i want to be here for you?

i don't want to see you hurt.

you can't just push away everyone who loves you.

you'll never be able to beat this alone.

you expect me to just sit here?

i love you, goddamn it!

you want to be alone? fine. be alone.

i'm not strong enough.

i really thought i could help you. turns out i was wrong.

i wish you would listen to me.

i came all this way to help you, and this is the thanks i get?

you are worthy of love, you know.

how many times do i have to tell you? i'm fine!

stop pushing people away.

it's easier to just make you hate me.

i don't hate you. i could never hate you.

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PROMPTS FOR COMFORTABLE INTIMACY *  adjust as necessary, send 'reverse' for the reversal of the prompt

[ settle ] sender sits on receiver's lap and gets comfortable

[ sling ] sender slings an arm around receiver's shoulder

[ pinch ] sender affectionately pinches receiver's cheek

[ ruffle ] sender ruffles receiver's hair

[ recline ] sender joins receiver on their chair and snuggles against them

[ hand ] sender takes receiver's hand while driving

[ knee ] sender lays a hand on receiver's leg while driving

[ clean ] sender reaches up to wipe something off receiver's face

[ tie ] sender adjusts receiver's tie

[ collar ] sender smooths out receiver's collar

[ tickle ] sender starts tickling receiver

[ piggyback ] sender gives receiver a piggyback ride

[ pick up ] sender scoops receiver up into their arms and holds them as they walk

[ guide ] sender places a hand on receiver's hip and guides them through a crowded room

[ smudge ] sender cleans lipstick off receiver's face

[ gun ] in the midst of a stand-off, sender reaches over and gently guides receiver's gun down, making them lower it

[ behind ] sender comes up to receiver from behind and wraps their arms around their waist

[ nuzzle ] sender leans in and nuzzles their face into receiver's neck

[ relax ] sender rests their head on receiver's shoulder while they talk

[ arms ] sender hooks their arm with receiver's as they walk

[ itch ] sender assists receiver with an itch they can't reach

[ catch ] receiver starts to fall, so sender reaches out and catches them

[ calm down ] sender pets receiver's hair and tries to soothe them after a scary situation

[ check ] sender checks receiver's temperature by placing the back of their hand against receiver's forehead, trying to see if they're sick

[ tuck ] sender tucks receiver into bed

[ feed ] sender offers a forkful of food out to receiver, helping them eat

[ undress ] sender helps receiver undress

[ shoes ] sender helps receiver put on their shoes

[ intent ] sender leans their forehead against receiver's

[ bathe ] sender helps receiver wash themselves in a bath

[ shower ] sender helps receiver wash themselves in a shower

[ assist ] sender finds receiver has fallen down, so they rush to their aid and help them stand again

[ bed ] sender helps receiver into bed

[ greet ] sender greets receiver with quick kisses to each of their cheeks

[ high five ] sender gives receiver a congratulatory high five

[ makeup ] sender helps receiver apply makeup

[ injury ] sender cleans receiver's wound and patches it up

[ seek ] sender reaches for receiver's hand and laces their fingers

[ surprise ] sender sneaks up behind receiver and places their hands over their eyes, wanting them to guess who it is

[ walk ] sender helps receiver walk by staying by their side and holding onto them