#Two criminals

[miwhotep]

AN IDEA TO MAKE SENSE FOR MILVERTON'S WRITING IN TWO CRIMINALS

While I was writing my analysis on Two Criminals, I've got a sudden idea about what could've actually been behind Milverton's plan:

What if it was just a way to stage his own death and get off the scene?

Of course, there is the question: why would he do it after all of the energy he put into researching the Lord of Crime (and building up his own playground in London)? Something might've happened what made him realize that this case with the Lord of Crime is too big to handle for him. Maybe what he did with Whiteley had bigger consequences he calculated and he learned that not just William, but even the government - Mycroft - is after him now? Or that was the time when he learned that Whiteley got the blackmail papers from Albert, the leader of the MI6, and he suspected that the MI6 wants to hunt him down, too?

There are lot of possible reasons for this and there's still the question if Milverton can be scared off like that. Well, he definitely can - remember, he wasn't present at all during the Scandal in the British Empire Arc when he surely learned about papers getting stolen and could've easily track them down and then get them some way - but he didn't want to. He most likely realized that that case is just too dangerous for him, he is a coward after all.

He felt in danger, and decided that the best he can do is to "die" so started his preparations for the play: inviting the Lord of Crime and Sherlock Holmes over to witness his death, while he wore something bulletproof (his carriage is shielded - maybe he got some similar protection for himself, too). The reason why he actually needed them to be there to make sure all his possible enemies know he is dead: the Lord of Crime, through him, the MI6, and through Sherlock, Mycroft - and Sherlock can also work as a trustful witness to tell about his death to the police so they won't research his death case further.

He calculated that both William and Sherlock will turn against him and one of them will try to kill him: with turning his back to them was a way to minimalize his injuries - wearing something bulletproof is not a guarantee for not getting any injuries at all, just not lethal ones. Then he fell into the sea, swam out and reunited with Ruskin - who went upstairs before leaving the house just to check if everything is according to plan.

And what's with Milverton's last action: publishing the Lord of Crime's identity? The reason behind this can be both because he found it amusing - his hobby is exposing people - and to get back to the Moriarties, even if just in a petty way.

Milverton can be still alive somewhere - his body was never found, and the police didn't say they found Ruskin's corpse either. Maybe he felt threatened to the point where he saw his only way to escape the most radical option: staging his death, leave the country and start a new life elsewhere as Ernst Stavro Blofeld.

This really was just a sudden idea what is quite fun to play with - and even if it doesn't make sense from a certain viewpoint, it's still more sensible than Milverton's inconsistent writing in Two Criminals.

Edit: I need to add a few days later that this was the point when I went wild with my inconsistent thoughts. If there would be no internal monologue from Milverton in Two Criminals, it would be possible, tho.

[hell-hirsch]

[sevengoodusesofacadaver]

What we’ve all been waiting for: Emily Prentiss’ office tour!

[azrail-has-a-vendetta]

I think I need a “Kid Tim Drake gets kidnapped and held for ransom but his parents don’t even pick up the phone so now these criminals are like whelp, this kid is ours now. Sucks to suck.” Fic.

[cardi-c]

two seconds of swiss

32/∞ ghovie gifs

[lab-gr0wn-lambs]

Obsessed with their new looks

[degenerateshinji]

did i fix it

[wistfulwatcher]

1.15 Unfinished Business | 5.10 The Slave of Duty

[scarlettjemily]

They're both serving face in such different ways, I cannot stop laughing

Criminal Minds 2x13 | No Way Out - Part 1

[miwhotep]

THE PROBLEMS WITH MILVERTON’S WRITING IN TWO CRIMINALS

This post didn’t mean to hate on the Two Criminals Arc, since there were great aspects of the story I really enjoyed, too: the Sherlock and John parts or the Sherlock-William face-off. I just want to talk about what are my problems with it when it comes to the writing of Milverton, because from his viewpoint, most of the things just don’t make sense.

Let’s start with Milverton’s visit to Sherlock’s office. I used to hate this part, too, for being so heavily based on BBC Sherlock, where Milverton also claims Sherlock’s office as his and makes a disgusting scene, including pissing. When I first read the story, I was angry since copying the scene didn’t make sense: in BBC, Milverton is a foreigner who wants to demonstrate how domesticated English people are with pissing and being able to get away with it – but YuuMori’s Milverton is an Englishman, who even likes to act like someone from the high-class: he is evil, but shown before being generally moderate when it comes to interacting with people. I was also angry because I felt that the scene is literally pissing on the meaning of a character like Milverton: he doesn’t need to act petty or threatening, he is a blackmailer, his whole existence is a threat. He is scary because he tortures people wearing a mask of a smooth-talker, even polite gentleman.

BUT! What if his tendency to make scenes like this is a strategy on his part? With his behavior, he pushed Sherlock to the point where he didn’t find breaking in to his house a problematic thing – he wanted Sherlock to surely break in to him, after all. Milverton angered Sherlock and his companion to make sure none of them, neither the more moral John nor Mary finds anything bad in the break-in, so Sherlock will do as he expected.

Before we move to the second part of the arc, let’s take a look at Milverton’s personality, methods and the conclusions he made about the Lord of Crime while investigating him.

Milverton more than once mentions that he always does a thorough research when it comes to his “cases”, and we also see proofs to this statement beside the Lord of Crime case: Sherlock mentions that he seems to know how much money exactly the people he want to blackmail have or their past and present relationships, he got Mary’s secrets and even the list with her name – so recovering any documents he wish for is not a problem for him either, - or during the White Knight arc, he knew the pressure points of both that police guy who killed Whiteley’s assassin or Sturridge and he was able to use them for his advantage. Milverton also mentions that he knows everything about everyone in London – because he is a control freak who just NEEDS to know everything. Getting information on someone is an everyday job for him – he is not just a blackmailer; he is also the King of Media.

Beside researching, Milverton’s method also includes analyzing people’s psychology and their weak points – as we see in the White Knight arc – to help him decide what actions he needs to take to make his victims act like he wants: whether it’s about forcing them to do crime or just make them act like catalysts to others.

When it comes to Milverton’s research regarding the Lord of Crime / William James Moriarty, he mentions that he spends every hour getting information on him: he knows fully the childhood of the original William, his relationships with other people, what type of person he was while he also researched everything about the present William. He notices the inconsistency between his personality before and after the fire happened, and able to deduce from getting through the court case of the fake-William who the William James Moriarty now is. He also researched Albert and Louis carefully and knows how much the three brothers are caring about each other. He also knows that the Lord of Crime is a Robin Hood figure, that’s why he foiled his Jack the Ripper agenda or took up Whiteley’s crimes to preserve the equality movement. The Lord of Crime’s good nature is how he deduced William James Moriarty being the Lord of Crime.

Before Two Criminals, Milverton is shown as a smart and competent villain who was able to outwit Sherlock more than once and didn’t make any bigger mistake.

Let’s finally move to the second part of Two Criminals where everything what got previously build up regarding his character falls to pieces.

First, Milverton not knowing the relationship between Sherlock and William despite the research he did – it seems so impossible since Sherlock and William met at least three times and he could’ve easily gotten to know about all of them.

The Noahtic incident: this was especially a big thing, Moriarty’s staged crime to expose Enders – and Milverton is a media mogul, a news like this surely caught his eye either looking into what really happened onboard just for his curiosity – don’t forget, he NEEDS to know about everything – or later connecting it to the Lord of Crime when he started doing his research. (And there was already a rumor among the common people about the Lord of Crime’s existence who helps the good – if I think it through, it seems so unbelievable that Milverton only started researching the Lord of Crime after the Jack the Ripper thing: Milverton is the Big Bad of the city, he should’ve feared that the Lord of Crime coming after him once, too). And when he researches the guest list of the ship to find Moriarty’s name on it, he could’ve noticed that Sherlock Holmes was aboard, too.

The train incident: well, that was a more isolated case, but it surely ended in the news – so how no journalists knew that the one who solved the murder case was a noble, alongside the famous Sherlock Holmes? The people aboard surely started gossiping about it, it should’ve been breaking news and Milverton could’ve easily gotten know who was the noble. And this would be also an example of a noble and detective’s social spheres colliding – what he was so surprised about in Two Criminals. (Adding to this point: Milverton, as a blackmailer, deals with all kinds of people: he loves ruining both nobles and commoners, why would he think that colliding of the social spheres of a noble and a detective is impossible? Milverton himself was an example that all kinds of people can meet, after all.)

Durham: no, I don’t start theorizing on that one of the students appearing in that exam looked exactly like Ruskin – but Milverton looked up William’s professor life, too. How could he not know that once the famous Sherlock Holmes went to Durham, too? Students surely started gossiping about their math teacher meeting the famous detective.

Second, Milverton miscalculating William’s pressure point – Milverton always knows the pressure points of his “cases” and he did such a wide research of William’s personal life, he knows the strong bond between the three brothers. He also knows that William is a Robin Hood figure and noticed his method in action: during the Jack the Ripper case, Liam united the police and the commoners against the fake Ripper, how hard would have been for a person like Milverton (who more than once outwitted Sherlock and has a good grasp on people’s personalities) figuring out William’s true plan: uniting the nobles and commoners against the Lord of Crime? He should’ve known that William’s pressure point is not his name published, but his family. Here, I also want to add that Milverton's usual method of blackmailing someone into doing something tend to happen with the use of his blackmailee's family - just remember the police officer whom he made murder Whiteley's assasin or Sturridge whose family got kidnapped to make Sturridge murder Whiteley's family - so Milverton would totally go for Liam's family, too, even if it's just looking at his tendencies. This just doesn't make sense.

Third, miscalculating Sherlock as a person. Milverton faced off Sherlock more than once in the past and surely expected to face him again at other blackmailing cases, he must’ve done enough research on Sherlock Holmes, too – he likes being fully armed when he goes to battle after all. So Milverton knows that Sherlock has his own type of morality – he even relied on that when he calculated that Sherlock will break in to him for the greater good. Milverton also knows that William is a Robin Hood figure who does crimes for the greater good and he surely suspected that Sherlock figured this out, too – so why was he so sure that Sherlock will arrest William when they meet?

Fourth, the safety of Milverton. He always travels with bodyguards and a shielded carriage – if he is doing something so dangerous like facing the Lord of Crime who murders evil people like him, wouldn’t it make sense to make some arrangements providing his safety? Like Sherlock once pointed out, he is a coward – why was he so stupidly brave in such a dangerous situation like this? It doesn’t make sense at all.

And the last one I’m most mad about: he was killed off so easily, despite that he meant to be a formidable foe to the Moriarties. Killing him was no effort to them. He was originally built up as a cunning villain in the acts before: defeating him should’ve required more brains than brawn. Milverton became a totally wasted character who had so many possibilities to explore but ended up being just a way to make Sherlock and William face off. Even if it’s about Milverton’s hubris of being overconfident – one big mistake is tolerable, but four at once? To a person who barely made any mistakes before? Now it’s just a total inconsistent character writing.

I thought a lot about how Milverton could’ve gotten defeated without totally massacring his character and I came up with an idea. First, Milverton threatens William to publish Albert and Louis’ identities as the helpers to the Lord of Crime – Liam would never let anything to happen to his brothers - to make him let Sherlock arrest him, while blackmailing Mary. Sherlock ending up arresting William and Milverton doesn’t get killed on that night. But Albert lets William out so he can escape and do his purge as the Lord of Crime and continue with the Moriarty plan. During the revolution Liam causes, Milverton’s crimes get to the light, too, so the people whom he toyed with finally take their revenge and cause his downfall like he did with so many others – society casts him out as a human trash. Milverton either get killed, brought to court or get chased away from London.

This was a really long essay, but I wanted to show my viewpoint about the story and why I am so angry about it when it comes to Milverton: a competent and smart character getting turned into an idiot. It was a really disappointing ending to his arc.

[luthqrs]

EMILY PRENTISS, JENNIFER JAREAU and SPENCER REID in CRIMINAL MINDS | 2x23 'No Way Out, Pt II: The Evilution of Frank'

[pesky--dust]

These two knew that all of this wouldn't end well.

[sincerelybubbles]

Here's a dialogue prompt for Emily please! Try this out pls. Love you Kam sm sm. "So why are you here?" "To make a fool of myself." ok ty lysm

even though i watched u type this, the wording makes me giggle every time i look at it.

emily prentiss x tech analyst!reader <3

warnings: fem!reader, cannon typical violence, very brief allusions to sexual assault (nothing happens!), angst and fluff! mutual pining.

word count: 5.4k

Emily is the loveliest thing you've ever seen and you can't imagine how she could ever possibly like you back. She enjoys the game, though, and teasing you is her favorite hobby.

-

It’s a sunny day. Warmth trickles down with the scattered light through the leaves. Patterns trace your arms, throwing your skin into a collage of different shapes and shades. Leaning back on your elbows, you watch people mill about the park. You look back down at your arm after a few more minutes, this time focused on the small watch resting there. With a sigh, you stand up and dust off your pants before picking up the small blanket you laid out and tucking it into your bag. 

You walk back to work, enjoying the sounds of the people around you. You lingered too long at the park during your break and are hoping that nobody notices your slightly late return. Maybe the team will be in a meeting, gruesome pictures you never quite learned to stomach plastered on the board, entirely oblivious to your tardiness. 

Unlikely, but a welcome thought soothing your anxiety as you push the door open and scan your badge at the security desk. 

“Welcome back,” the security guard says, smiling at you over his paperback. He’s an old greying man and you vaguely recognize him. You think he’s new and send him a warm smile in return. 

“Thanks,” you glance at his name badge, “Martin!”

You walk past him and step into the elevator. “Wait!” A voice calls and you reach forward to hit the hold button instinctively before you register the voice as Emily’s. 

She jogs into the elevator with you, smiling gratefully. “Thanks, I’m already running a little behind.” She lifts a container and shakes it a little. The label is from the Italian bistro across the street, about a ten-minute walk away and always nearly triple that in wait time. 

“Brave of you to go there during your lunch,” you joke, returning her smile and pressing the button for your floor. 

You hope she can’t see how your hands shake as you reach forward.

“I know, I just love their Pasta Brado. Have you tried it?”

“Can’t say I have. I’m boring, I usually go for the parm.”

“You’re not boring,” she says so earnestly that you can’t help but blush. You cough as an excuse to raise your hand to your face and hopefully hide it some. “You do have to try it, though. Here,” she offers you the plastic box. 

“Oh, I couldn’t. And I already ate.” You ignore the way your chest hurts a little at how enthusiastic she is. The worst part? She doesn’t even know how endearing her simple kindness, her casual enthusiasm, is to you. 

“Tomorrow, then. We can go together.” The elevator doors open as she says it and she steps out with an affirmative nod to solidify it. “Don’t try to bail out on me either, I know where to find you.”

“Yeah, I'm okay,” you say, feeling lame as you step out behind her. “I would love to.” She’s too far to hear you, though, already heading to Spencer’s desk and jumping right into his conversation with Morgan. 

Someone says your last name and you turn on your heel to see Hotch and cringe slightly. “I was trying to find you.” It’s a kinder way of him reminding you that you’re nearly ten minutes late back from your lunch. 

“Sorry, sir.”

“It’s fine. Do you have the reports finished from last week's trip to Huston?”

“Yes, sir, they’re at my desk. One moment.”

-

You and Emily don’t go to the bistro the next day because she and the team are sent to a small town in Kansas that night. 

“I’ll owe you lunch,” she says, hand on the back of your desk chair and brushing your shoulder as the team rushes to the jet. 

“Don’t worry about it!” You reassure her.

“I’m taking you to lunch,” she calls over her shoulder, pretend-glaring, “you will try that Brado!”

And then she’s gone, leaving you giddy and breathless. 

You know she’s just being friendly – she treats Spencer, Morgan, and JJ all the same as you – but her efforts to spend one-on-one time with you outside of work still have you feeling like a schoolgirl passed a note from her crush in class. 

You try to remind your heart to stop singing because Emily probably isn’t even gay and definitely isn’t interested. Instead, Garcia scares the shit out of you when she interrupts your inner monologue. 

“Lunch with Emily? Things are getting serious in your work marriage.” You hadn’t seen her walk into the room and jump at her voice, hand jumping to your mouth to suppress a yelp. “Sorry! Sorry!”

“It’s okay, didn’t see you.”

“Your loss, I look fantastic today.”

“As always,” you smile up at her, nose wrinkling and genuine fondness filling your senses. 

“Careful, wouldn’t want a workplace affair,” she jokes, leaning against your desk and picking up the stress ball you keep handy. 

“Stop,” you moan in good nature. “Nobody else calls us work wives.”

“That’s just because they don’t have my brilliance and excellent observational skills.”

“Nor do they have the same privy to my more personal thoughts,” you say, glancing up at her before returning to your paperwork. With the team leaving so quickly to tend to a missing child's case, you’re not getting home in time to cook dinner but are hoping to leave early enough to grab food instead of resorting to your freezer stash. 

“I would hope not. You know I can’t be replaced, baby.”

“Does Morgan know you talk to all your work besties like this?”

“I most certainly do not. You’re a regular bestie, not a work bestie.” A wink and then her expression sobers. “I do have an actual reason for visiting your humble cubical, though.”

“Hm?”

“I’m going to need extra hands for this case. It’s time-sensitive, as usual, and seems like it will be particularly tricky.”

“Yes ma’am,” you say, dropping your pen and standing to follow her. 

Your position at the bureau is kind of a catch-all. Most of your time is spent logging data, building reports, and doing general research for the team. Occasionally, though, you jump in to help Garcia with real-time research. Nothing as high-stakes as her direct assignments, more background work. Calling offices to talk to managers, combing through more meticulous data, generic census material to rule out obvious dead ends. 

It’s stressful work that technically isn’t what you’re paid for but you never complain. Your team saves lives, consistently putting themselves in the line of danger. If you have to spend a few hours a month helping Garcia call a suspect's manager at McDonald's to see if he still works there, it’s literally the least you can do. 

“Yes, so, it looks like our unsub…”

You drown out Garcia’s brief about information you already have sitting in front of you and begin vetting possible suspects from the large pool her system created.

It’s going to be a long night. You think about future Brado to cheer you up. 

-

“Reid, Prentiss take the back,” Hotch’s voice fills your ears. You imagine the pair nodding and splitting off from the group. 

This is your least favorite part of helping the team with active investigations – listening in on the calls. It’s rare that you and Garcia join the line when they’re approaching the unsub but, with you helping her, it isn’t a risk to distract Garcia and a much quicker method of getting any new information the team needs. It’s a new system you’ve only tried thrice, unsure how having microphones on 24/7 will work, and it grants you and the team more fluid communication.

Still, adrenaline floods your veins as you listen to their coms, the sounds of Garcia typing a constant behind their voices, imagining every way this could go wrong. 

You suspect the girl is still alive, the uncle doesn’t seem to have any reason to kill her just yet, but your fear for her grows with every minute. 

“Clear!”

Your eyes fall to the receipts flooding your screen. Ammo. A new rifle and pistol. The team knows but the evidence of this unsubs ability to hurt any of your friends, your family, isn’t helping your nerves. 

“I think he’s going to the roof!” Morgan’s voice, clear in the comms. 

You click out of the documents. Two swift motions on the screen. The firm press of the button. 

“Morgan, you’re on foot. Prentiss, follow him. Everyone else in vans, go!”

“Garcia, map out possible escape routes from the roof,” you instruct. 

She nods, screens shifting immediately. She puts on her own headset with one hand and clicks on the call and starts to bark information to Hotch. 

“Got her!” Reid’s voice sounds and you deflate a little. He mutes as he begins to console the small girl. 

You know you can take off your headset now, leave the call, and go to your paperwork. There isn’t much more you can do to help – you’re sure that’s what you’re supposed to do – but you stay on anyway, listening. 

“Right on Elmore!” Morgan calls. You find the street on Garcia’s screen, eyes tracing the path you think they’re taking. 

“We’ll try to cut him off,” Rossi says and you can hear tires in the background of the call. The click of a steering wheel cutting to the side too quickly. Someone’s labored breathing – probably Morgan’s as he dead sprints. 

“Stop! Put your hands up!” Emily shouts. The firmness in her voice makes you sit up straighter in your chair. 

You hear something that sounds vaguely like, “bitch,” before a loud pop drowns anything else out. 

“Emily!” Morgan’s voice, more pops. 

Gunfire. That’s gunfire, your brain recognizes. 

Your blood has gone cold.

“We need a medic!” Morgan shouts. Hotch’s line blinks red, going dead as he calls the ambulance. “Emily, Emily.”

Rustling. Cars. Sirens. Morgan’s line goes dead after you hear a car door slam shut. Then Reid’s and Rossi’s. Emily’s is the last to stay green, blinking.

You and Garcia stare at each other as you listen to Emily be loaded into an ambulance. Listen to Morgan tell the team, voice far away and barely tangible, that the unsub only managed to fire out one shot before he downed him. 

Neither of you can hear where she was shot or how badly injured she is before Emily’s line goes red as well.

-

“Emily?” You call softly, rapping your knuckles softly on the frame of the cracked hospital door. 

Your name, faint, answers you and you take that as permission to nudge the door open. The room looked dark from the hallway but Emily has the small lamp embedded on the wall switched on, throwing her face into harsh shadow. 

“Hey, you,” you say, walking in, arms full. “I brought things.”

“You didn’t have to do that,” she says, trying to sit herself up further and wincing as the motion pulls on her stitches in her abdomen. 

“Wait, let me help you,” you say, setting your things down and reaching out a hand. 

You wait for her nod before touching her, letting her grasp your arm and looping your other arm around the back of her waist to take most of her weight yourself. 

“Thanks,” she mumbles. You can tell she hates feeling useless, hates needing help for something as simple as sitting up, so you drop the subject with a nod and kind smile. 

You turn around to the small rolling tray where you put your things down, pulling two black containers out from a plastic bag. You feel silly and very awkward as you turn around to show them to her. 

“I know it’s probably not quite what you meant but,” you set the containers down on her bed and pop one open. 

“The Pasta Brado! Oh man, I was going to treat you.” She’s pouting through a smile, attempting to put on an upset facade and failing miserably. 

It’s so cute that you struggle with what to say next. 

“Thank you, really. You can pull up that chair, if you’re hungry now.”

You grab the chair she’s motioned to and drag it to sit next to her. “I’m hungry if you are. It might be a little cold, though, it’s kind of a far walk.”

“You walked here?” Emily asks, tone appalled and face comically shocked. 

“Yeah, my car broke down last week. I’ve been walking to work – it’s actually really nice out right now – and I couldn’t find a cab from the bistro.” You busy yourself with the food while you talk, opening the second container, setting it on her legs, and unwrapping the plastic cutlery for her. 

“Jesus! You didn’t need to come and see me if you don’t have a car. You didn’t need to come at all, actually. I really appreciate it,” she amends, seeing how your bashful smile freezes on your face, reaching forward as if to touch your face and brushing your shoulder instead. “It’s really sweet of you but you didn’t need to walk all that way. Isn’t it like a twenty-minute walk from here?”

Over thirty, but you nod anyway, knowing it won’t help your case to correct her. “It’s not a big deal. You were shot in the stomach, of course I wanted to see you.”

“Ah, so you wouldn't want to see me otherwise,” she teases, nodding and pushing her pasta around with her fork. She doesn’t even try to conceal her grin. 

“Ha ha, very funny,” you mumble. You take a bite of your food and your eyes widen. “Oh my god.”

“I knew you would love it,” she beams, watching your expression as you taste the food. You you she meant to say it in a gloating way but you swear you can hear a sort of fondness behind the words. Something in you warms at her ability to know you so well. 

You tell yourself you’re overreacting about both thoughts. 

“You were right – Emily this is unfairly good.”

“Oh, I know,” she says, taking her own bite and letting out an exaggerated moan, complete with an eye roll. You giggle and she smiles at you. “Thank you, this is exactly what I needed.”

“You’re welcome,” you say, holding her eye contact. 

She's been in the hospital for three days, transferred back to Virginia last night; her hair is unwashed and unbrushed, and she’s wearing no makeup and a hospital gown. 

She’s still the prettiest girl you’ve ever seen. 

-

Your car is fixed by the time Emily is released from the hospital two days later and you offer to take her home. 

“Hi Sergio,” you greet the cat brushing against your legs as Emily disengages the alarm. 

You set her things down by the door before turning to offer her your arm. Emily doesn’t pretend that she doesn’t need the help when it’s just you two, something you’re grateful for after watching her struggle with the team around, and lets you guide her to her bedroom. 

You set about making her comfortable, turning down her sheets and propping the pillows up so she can sit. 

“I’ve got it,” she laughs, playfully pushing away your hands. 

You laugh along with her, raising your hands and backing away. “I’m going to go put the rest of your stuff away and get you a drink.”

“Perfect, I’ll take an old-fashioned. Don’t forget the cherry.”

You roll your eyes at her, scoffing and leaving her room. 

You throw her clothes and go-bag in her laundry room before making her a glass of water and another glass of juice. Once you’re sure she’s settled in her bed with her book, you return to the kitchen to make her a few dinners, ignoring her protests. 

-

Emily is back in the field much sooner than you would have liked. 

“I was cleared by the doctors,” she tells you, coat slung over her arm as she digs through her bag for her badge. 

You smile at Martin, sending him a mock exasperated look, before she finds her ID and shows it to him. 

“It still seems too soon, Em,” you persist, reaching forward to push the elevator button and turning so you can lean back to watch her face. 

“Em?” Emily asks, the hint of a smile pulling up the left corner of her mouth. 

You sort of feel like you could die in that moment, just from the heat that simple gesture surges through you. 

“It just sort of slipped out, sorry,” you say, thoroughly embarrassed. 

The elevator dings and the doors open, throwing you off balance for a second. This doesn’t help your already flared nerves as you stumble back and drop your bag. You reach down to gather it and the files scattered across the floor. 

You’re kneeling to stuff everything in your bag when Emily crosses your line of sight again, wide smile on her face – teeth fully on display and nose scrunched, you are in desperate need of help – holding out your notepad.

“I think the nickname’s sweet. I kind of like the idea of having a name only one person, only you, calls me.”

All of the air has left this godforsaken elevator, the heat must be on, you stare dumbly at her as she reaches forward to grab your bag and put the rest of your papers inside of it for you. 

And then, realizing you look like an absolute idiot, you snap back into your body and cough slightly. The doors ding and open again, you grab your bag from her and stand slowly. Smiling at her, still crouched on the floor and looking, amused, up at you through her eyelashes, you say, “Okay. Thanks, then, Emmy.”

You walk away after that brief flash of confidence, telling yourself you’re just imagining how you swear her face flushed bright at your comment. 

And if Morgan mentions a few minutes that Emily seems flusters, well, who can blame you for floating on that high for a few days?

Except she doesn’t let it go. 

She corners you on your break in the kitchenette. Literally. She catches you when you’re examining the coffee pot that has been making concerning gurgles for the past few days and leans on the counter behind you, effectively blocking your exit. 

Not that you really want to leave. 

She’s wearing a red tank top and dark jeans, her hair is loose around her shoulders, eyes steadily trained on your face as you work. 

“Hello,” you say, quiet in a way you’re not normally. 

“Hi.”

“What’re you doing?” You ask after a few more moments of her silently staring at you while you pretend to know what you’re doing with a screwdriver. 

“Enjoying the view.”

You drop your screwdriver and relish in the sound of her laugh. 

-

You’d love to say that you had some suave answer to return her charm but you think you spent it all that morning with your boldness. 

You’re not shy but confidence doesn’t run in your blood either. You’d say you’re pretty normal – average. You don’t find much wrong with that, you know you have other qualities that build you up into an interesting person. You love your friends and coworkers deeply, for one. And have an intense trust in them and their abilities. 

That trust is always tested in your day-to-day at work but never more than now as you feel the car around you make turns at highway speeds. You think you’re on some sort of back road but it’s hard to tell from the trunk given the obvious lack of windows. 

You’re calmer than you thought you would be if kidnapped. 

Groaning after one particularly rough turn that has you jostling against the sides of the trunk, you allow your head to thump back and stare at the inside of the dark car. Light breaks through the cracks of the hinges of the trunk and you wonder if water trickles through when it rains. 

You’ve been in here too long to consider if you’re focused on the wrong things. You’re scared shitless, of course, but the adrenaline faded about an hour into your drive and now you’re just bored. 

Imagine that – bored as fuck in the trunk of a stranger's car, wrists burning from the rope and jaw sore from where it’s been forced open too long by the fabric tied around the back of your head. 

You’re just allowing yourself to reimagine your morning with Emily when the car stops and the engine cuts. 

You snap back into the present, energy flooding your system again as your brain flicks into overdrive. You might spend your days paper-pushing behind a desk, but you passed your physical. You’re smart, you’ve heard the stories of how these victims survive captivity. 

When the trunk pops open, you squeeze your eyes shut to prevent pain from the sudden lack of light. You don’t want to be blinded and the action has the added benefit of pleasing your captor. He put a hood over your hood when he grabbed you, muttering in your ear in tense tones that you would do best to not even try to see him. 

Say what you will, you usually do a pretty good job at following directions. This one is easy and happens to be number one on your list right now – keep him happy so he keeps you alive. 

“Good girl,” a gruff voice says before a calloused hand gropes the back of your neck to yank you forward. Scratchy fabric envelops your head and your hot breath bounces back against you, trapped against the fabric of the hood. 

You stand when his hands start to grab your waist, pulling yourself to your knees and allowing yourself to be lifted from the trunk.

You want to run but know now’s not the time. 

“Look at how well-behaved you are!” His breath is wet against your neck. He stands too close, hands clawing under the hem of your shirt to cling to your skin. 

He walks you forward like that, chest pressed against your back and breath slithering down the collar of your shirt to hang uncomfortably over your collarbones. 

It’s becoming increasingly more obvious what this sicko wants from you and your stomach is twisting at the thought. You urge the team to hurry up, knowing your absence would have been missed ages ago. They have to be looking for you by now. And, with how sloppy this dude seems to be, he must have left a plethora of clues waiting to be found. 

You have to repeat this to yourself as you hear a door lock click. 

“Took you long enough. This is the girl? She’s kind of … well,” the second man kisses his teeth with a sharp sound. You’re pushed forward again. “Whatever floats your boat man.” The door shuts and locks behind you. The second man's voice fades as he talks, disinterested. 

You wonder if it’s wrong to feel slightly insulted right now. 

“This way, doll.”

You listen. It’s saving your life to be complicit in his directions, so you listen. Still, you’re shoved harshly to the floor once you get to where he wants you, knees striking what feels like cement. Before you can recover, your cheek stings and your head is whipping to the side from a sudden slap. 

Then, there’s a kick to your ribs. You fall onto your side, too winded to even cry out, lips falling open in a silent scream. A boot in your belly. Your ribs again, your hip and back. 

“Why?” You manage to sob out. “Why, why?”

You don’t get an answer.

-

You’re not overly religious but you thank whatever heavens or universe exists that he leaves you alone once he’s done kicking the shit out of you. Your ribs are bruised but the worst you expected hasn’t happened. 

The boredom returns as you lay with throbbing ribs. At least one is broken and every breath hurts. You can’t imagine sitting up and, luckily, with your hands tied behind your back, it’s not really an option anyway. 

It must be near an hour later when you’re fading out of consciousness – a purposeful choice on your part to save your energy – when you hear the front door burst down. 

“FBI! Hands where I can see them!” Morgan. You nearly weep but think better when your stuttered gasp makes your side throb. “What the fuck?” You hear shouted in reply. “Robb, what the fuck man.”

There isn’t much of a resistance from the living room. The second man is shouting at what you can only assume is the first – your initial kidnapper – but there’s nothing else other than that. 

“Clear!” You hear Hotch call. Spencer replies and then you hear the door nearest you open. 

His voice calls out your name. You deflate against the floor. A second, you know he’s scanning the room with his gun before holstering it. “Clear! I need a medic!”

Hands, gentle, against your face, removing the hood. Swifter after that, removing your gag, and then hand binds. 

“Hey, Spence,” you say, trying to smile up at him. 

“Shh, you’re okay. We’ve got you.” He starts to support your weight behind your shoulders and the pain that brings is too intense to prevent your yelp. 

“Oh my god, is she okay?” You hear Emily ask seconds before you see her. She looks concerned, hair now in a tight ponytail and FBI vest strapped over her chest. She whispers your name once and then a second time, reaching forward to gently brush your hair out of your eyes. 

“Hey, pretty,” you say, words tumbling out of your mouth before you can catch them.

“Hi beautiful,” she answers, reply just as soft as your own. Earnest. 

It makes your heart ache and, for the first time since being yanked off the road walking to grab lunch, you start to cry. 

“Hey, hey, I’m sorry. I’m sorry, beautiful, it’s okay. You’re okay.” She repeats this as you’re lifted by the paramedics and cry harder. 

She repeats it when they stitch up where kicks burst the skin over your cheekbone open, repeats it as she trails a hand down your arm in gentle patterns while they examine your ribs and confirm that you’ve broken two, maybe three. 

She tries with you in the ambulance. 

You can’t help but think about being on the phone when you heard Emily be shot weeks earlier. You squeeze your eye shut as they insert the IV, beyond grateful that she’s there to hold your hand while they do it. The tear that falls down your cheek has nothing to do with the pain and everything to do with the thought that you couldn’t have been there for her in the same way. 

An odd thought, you realize, but it’s the one you’re stuck with as you drift away when the pain medicine enters your system. 

-

You’re sent home three days later. You insist on spending the night alone, afraid to admit you’re scared because, honestly, nothing much happened to you. 

Oh, of course, everyone tries to convince you otherwise but you know they’ve all had it worse. You were gone from the bureau for about eight hours and spent most of it bored. 

So you force yourself to spend the night alone. You don’t need help moving around or doing things for yourself so you convince yourself you don’t need help. 

You’re cooking dinner when the doorbell rings. You wipe your hands with a dish towel and take your time walking to the door to look through the peephole. You don’t know who took you yet, you haven’t asked and nobody has said, but you can imagine seeing him through the door. Waiting for you, waiting to kill you this time. 

Okay, yeah, maybe Spencer was right when he talked about PTSD and usual levels of anxiety, but you’re so tired of him being so right all of the time that you really want to prove him right.

There is no man standing on the other side of the door, though. Instead, you see Emily, holding a plate wrapped in tin foil and looking serene in your apartment hallway. 

You open the door quickly, unlatching it and turning off your alarm with a few clicks. “Emily?”

“Ah, man, I was getting used to Emmy,” she jokes, stepping inside with a smile in your direction and kicking off her shoes. 

You can’t think of an answer so you just smile at her, hoping she’ll take the lead. You’re tired and she must see it because she offers the plate in her hands to you once the door is closed and the alarm is reengaged. 

“Rossi sent me with it with explicit instructions to not let you share it.”

You giggle and take the plate. “I’ll have to tell him thank you. It’s kind of out of your way to come all this way, though, isn’t it?”

“Not out of my way at all,” she says, words dripping with meaning as she holds your eyes. “I would have come even if Rossi didn’t have food for you.”

“So why are you here?”

“To make a fool of myself,” she says, casually, like that’s something people say every day, “probably. You’ve just gotten back from the hospital and I know you said you wanted to be alone, but,” she swallows and her words are becoming more rushed as she speaks, “I said the same thing and you still stayed.”

“Emily?” You ask, setting the plate down on your hallway table and clearing your throat. “Ah, Emmy?” You amend when she cuts you a look. Your attempt to diffuse the tension doesn’t work and she steps closer so you’re toe to toe.

“That doesn’t really answer your question, though. You’re sweet enough that you would let it go, but,” she shrugs, reaching forward to gently loop her fingers around your wrists. “Stop me if this is awful timing. Please,” she says, leaning forward and staring into your eyes. 

You feel like you’re suffocating, but if this is death, you’ll greet it gladly in the irises of Emily Prentiss. You’re caught in the trap of the moment, heart hardly breathing, all aches and sores forgotten because Emily is leaning closer, breath fanning across your face. You feel intoxicated, ensnared. 

Everything that has ever been exists here, now, in this moment. Every breath used to blow out birthday candles and blow away eyelashes – breaths with purpose, with wishes, with intent – exists between the two of you as she leans closer and closer. Closer, still, and how can so much distance exist between you two when you’ve been standing so closely?

“Just, stop me, if you want,” she whispers against your lips, eyes falling shut. 

Time yawns again, freezing. Your eyes open, hers closed, beats of seconds pausing. Hesitating for you to hold this moment in your hands. You’re grateful to appreciate it because she really is so lovely. Her bangs are pushed back from her face with a headband – imagine that! Emily owns headbands! – and you can see every detail of her face. Her elegant nose, her slim eyebrows, her narrow, prominent, lips.

And then your heart finally catches up, beats loudly, cracks whatever fragile plane of glass holding the moment so perfectly still, and her lips are meeting yours. 

You gasp into her mouth, hands breaking out of her hold to grab her face. You’re afraid that she’s going to pull away before this kiss can be fully real. Before you can actually taste her – lemon cake and rain and warmth. Before you can memorize the feel of her lips pressed against your own before you can drag her closer and slip your hands into her hair. 

But she doesn’t pull away. She meets your enthusiasm with a sigh and then enthusiasm tenfold. You can feel relief in the kiss, feel how she relaxes into you. She takes a step forward and you take one back half the amount to account for it. 

A tilt of your head and it’s better, impossibly. She’s firm, sturdy, beautiful. Confident. Lovely, lovely, lovely. 

And then she reaches forward to hold you to her, hands brushing your ribs to wrap around your back and you can’t hold in the gasp of pain that causes you to stiffen. You want to take it back, want to ignore the pain, want to keep her near, but she won’t allow it.

“Oh, I’m so so sorry. Are you okay? I’m sorry.” You smush the apologies against her lips, removing one hand from her hand to guide her arms around your shoulders where they won’t hurt. “Okay! Okay,” she giggles, leaning back with several short kisses that do nothing to satiate you. “I need to know you’re okay.”

She can obviously tell she hasn’t hurt you too bad by your reaction, but the sweet caution in her voice has you melting further. 

“I’m perfect.”

[starry-bi-sky]

i have been unmedicated for the entirety of spring break and thus have had little interest in writing this down, but i have been thinking about this for the entire week (as well as a dpdc clone danny au that resulted in it becoming its entirely separate batman au that includes a teenage vigilante bruce wayne, an ocarina, and me entirely incapable of making a batman au without making bruce dirt poor but we're not talking about that) and so i've finally went 'fuck it' and forcibly grabbed my laptop. I will get this done in one sitting even if it kills me.

BUT. This is about neither clone^2 danny nor about who i am calling Ocarina Batman. This is about my Danyal Al Ghul Au and more SPECIFICALLY it's me thinking about his relationship with Sam and Tucker specifically.

Tucker and Sam? Adore this asshole (affectionate) with every fiber of their being. And it is very much a reciprocated feeling, but Danny's thoughts will not be delved into much other than he would kill for them.

Tucker? The only person currently capable of getting a deep, loud, belly laugh out of Danny. Sam can get him to smile and to laugh, but it's the kind that's a chuckle-under-the-breath. The quiet, looks-down-while-huffing laughter. Snorts once with laughter and then grins stupidly.

But Tucker? Tucker can crack a slew of stupid jokes and Danny will be incapacitated for the next five minutes because he's laughing so hard that he can't breath. He lands one well-timed pun or quip and Danny will be close to tears. His laughter is their favorite sound in the whole world.

Sam is lowkey jealous of this ability, and she's gotten a belly laugh out of Danny a few times. But alas, it is Tucker who wields this power and has gotten it the most times out of the two of them.

-

They're also both physically affectionate with Danny as much as possible. It started roughly around when they were 12-ish, a year since they befriended Danny, and they noticed that he sought after touch but never seemed to initiate (and was in some ways repulsed by it). They started slowly being more touchy with him. Hooking a finger around his to lead him somewhere, tapping his wrist, looping arms. Little touches, grabs, etc, to get him used to it, and once he started doing it back they started increasing it.

It's gotten to a point where he will now just. Lay on them. Like a lizard sunbathing on a rock. Leaning on their backs when they're sitting in class before the bell rings, his chin on their heads. He'll talk about anything with his arms looped around their shoulders.

If they're sitting on a couch at either of their houses, he'll lay his legs on theirs. Him and Tucker will press their feet against the other's and try and push against them (newsflash: Danny always wins, Tucker claims its the ghost strength but Danny's been winning since before his accident)

-

Naturally, both Sam and Tucker know where Danny keeps his weapons on his person, and are allowed to grab them off of him if they need it. His only requirement is that they don't lose his weapons if they take it and forget to return it immediately.

They both understand how big of a thing this is from Danny, and so they do their best to treat his weapons with a lot of respect and care because they know its his way of saying he trusts them.

-

Sam and Tucker are so fond of Danny it's insane. Like fr. That's their goddamn best friend, and they are so protective of him. Emotionally, physically, you name it. They will tear the head off a grown man if they need to, Danny's had scars since he arrived in Amity Park and Sam and Tucker both are going to find the person who put them there and make them pay for it.

One time, Tucker overheard a bunch of upperclass girls speaking nastily about Danny and about the rumors surrounding him, calling him names like 'freak', 'monster', etc. Danny was with him and heard it, and seemingly appeared unbothered by it, even telling Tucker that he was used to such rumors.

Tucker was so furious that hacked into the school system later that night and tanked those girls grades. They were kicked out of their clubs and had to go to mandatory tutoring for the rest of the year. He made sure to leave some way of letting them know it was him who did it.

And Sam doesn't like using her money for things, doesn't like abusing that wealth. So instead, whenever her parents talk bad about Danny, she causes a media incident that has her parents scrambling to deal with. She does something wild, outrageous by her parents' standards.

She heard some boys on the basketball team making fun of Danny once, similar to those girls had. She kicks up a fuss about something eco-unfriendly at school and forcibly holds a protest on the same day of the big home basketball game, forcing them to cancel the event and reschedule to a visiting school.

She anonymously donates money so that there's new uniforms for the team but oops! Looks like she "forgot" to donate enough money for them to get uniforms for all the team members, and strangely enough those boys in particular didn't get them! Looks like they'll have to wait until more money gets donated for the basketball team to get their new, nice uniforms. The old ones look so ratty in comparison, right?

And since the football team gets most of the sport money, that might just take awhile. And if (and when) they kick up a fuss? oops! Off the basketball team you go, :) such unsportsman-like behavior is unfit for the team.

(The only good thing about how corrupt the school system is is that she can use it to her advantage too.)

The both of them know that Danny suspects them for the sudden misfortune falling on these people, but he doesn't call them out on it. He's kinder than he used to be, but not kind enough to vouch for people who speak badly of him. Sometimes, he might just congratulate them on not getting caught.

Because Danny is their wonderful, hurt friend with a "slightly" Blue and Orange Moral code, and enough scars that people have been calling him a criminal (and worse) since he arrived in Amity Park when he was ten. And they'll be damned if he gets hurt anymore.

[spencestiel-michelle]

Spencer: can i see your hand? 

*Y/n gives hand without hesitation* 

Spencer: thanks. 

*Spencer begins to draw on Y/n’s palm* 

Y/n: *smiles*  

*two minutes later*

Spencer: what do you think? 

*Y/n looks at the palm of their hand…*

Y/n: it’s a… it’s.. you drew a ring? 

Spencer: no. i drew this. 

*Spencer gets down on one knee, takes out a velvet box, and reveals an engagement ring inside*

Spencer: will you-

Y/n: actually, i like the one on my hand. it’s inventive and dignified. and it’s way prettier- i’m totally fucking kidding come here yes yes yes a thousand times yes 

Spencer: you know what, you can keep the hand doodle-

Y/n: spencer i was kidding kiss me already-

Spencer: i’m going to return this-

Y/n: look. this is what you’re going to live with for the rest of your life. 

Spencer, dreamily: yes. you are. 

*the newly engaged lovebirds kiss before Y/n admires her hand* 

Y/n: …did you use permanent ink on me? 

[hitlikehammers]

take the call

rating: t ♥️ cw: off-screen car accident (but EVERYTHING IS FINE), hurt/comfort, softness ♥️ tags: established relationship, married steddie, hurt/comfort, rockstar Eddie/teacher Steve, Steve's heart of gold is very possibly going to be Eddie's undoing one of these days, well-worn-soul-deep love

for @steddielovemonth day eighteen: Love is terrifying (@starryeyedjanai)

set in the 00s, with Steve and Eddie having two decades of loving under their belts, now ♥️

Eddie isn’t expecting a call, any call, really; he’s in the studio, like, if he gets a call someone takes a message or whatever.

And in fairness, Eddie doesn’t get the call.

He gets a message.

“Eddie?”

He rolls his eyes kinda automatically, kinda thoughtlessly at the cut of the audio track to let the mic system override from outside the booth.

“Okay, so, like, don’t freak out.”

He’s not thoughtless at all about the way he clocks the tension in Jeff’s voice even across the speaker system; it’s entirely automatic how he freezes, how he looks up and locks eyes with his friend through the glass and sucks in a sharp breath for the look on his face: pained.

Maybe, maybe scared.

Eddie’s heart drops somewhere near his knees, but beats there so fucking hard.

“This lady called, and she said she found Lainie’s card inside the case of a phone she picked up,” and okay, okay, that’s…that’s random but maybe it’s about their assistance manger, who just got her contract confirmed and got fancy new business cards for it and has been handing them out to everybody she sees, even gave Eddie extras to pass on to Steve, maybe he can share them at the school as if anyone at even a hoity-toity private 6-through-12 school would have a reason for a card from a record label but she’s excited, and Eddie’s excited for her, and Steve loves the people Eddie works with, and not just because they’re attached to Eddie and he loves the things that come with Eddie as a given—but that’s also true, and always has been, but—

“She, um,” Jeff’s voice is filtering through again, and Eddie clocks that there’s…there’s something more to it, more than his brain’s willing to grasp just yet but his body’s apparently picked up on because he thinks the slightest breeze would knock him over and shatter him into pieces, for the tightness in his body; he’s not focused enough to count the separate beats of his pulse but he can tell it’s quick enough already, still weighed down near his feet, that counting would be kinda hard, would take effort:

“She found the phone at a car crash?”

So: the more-to-it. The thing his body already knew.

Eddie…Eddie doesn’t even need to know what comes next to know he cannot fucking breathe.

“Sounded kinda like, uh, like it could have been Steve’s phone,” Jeff is trying to tell him, and part of Eddie hears it, part of him does but most of him is white noise, is pins-and-needles, is underwater and drowning and not even fucking thinking of fighting the pull because he can’t, he’s heavy at the legs and his lungs are seizing and there’s, he’s—

“Because it, umm, she found the card because the case was broken?” and just last night Eddie’d watched Steve pop off the case and slide the cards behind with a laugh and a promise to take them with him not today—because it’s one of those federal holidays that only schools notice happening, like the post office is still open—but definitely tomorrow, never knew which of the kiddos at the Rich People School might be a budding metalhead underneath their uniforms—

“And she said the case was, um, like bright—“

Green.

Electric lime neon fuckin’ green because after three times of Eddie taking Steve’s phone by accident he’d come home with that endearing eyesore, and a kiss to the bridge of Eddie’s nose and a soft hard to confuse that, babe nuzzled against him and—

“It could maybe have just been a coincide—“ Jeff’s talking but Eddie can’t fucking hear it, not really, not when he’s letting the door slam behind him and ripping off his headphones to drop to the groundnut when he’s gasping hard enough to crack a rib, not when the floor’s gone out from underneath him and his vision’s tunneled and nothing seems real, and everything feels too real, every world ending possibility shuddering through his foggy mind alongside every heartbreakingly perfect memory blossoming up unbidden just to serve as a reminder, an underscoring of what he stands to lose, what maybe he’s already fucking lost—

He meets Jeff’s eyes without the glass between them as he grabs his keys from his jacket on the couch and makes himself take the breath that’ll fuel the voice, that’ll give him words, just one word, he needs, he fucking needs—

“Where?”

_______________________

Eddie shouldn’t have driven himself, he knows that.

Like, on some other plane of existing, he’s sure he knows that.

But on this plane, he rips past his bandmates, all the extra people with them for recording, jams the close-door button before anyone can follow him into the elevator because he happens to know this one’s quicker than the stairs even on a good day, and this—

Eddie’s shaking so goddamn hard he can barely get one foot in front of the other, he really doesn’t think he can manage ten fucking flights of steps.

He burns rubber on the way out of the parking lot, and the nearest hospital to where Steve would have been—on his day off, because holiday, he’d have bene close to home, he mentioned food shopping, he thought he might make stir-fry but he wasn’t sure, they hadn’t made a vegetable haul from the Asian market downtown in a couple weeks and they need to, they need to but Steve wasn’t feeling like going on his own, because he might not say it out loud but they both know he enjoys Eddie’s excitability when new items hit the shelves and he can’t read the language they’re labelled in so he guesses frantically until the man who owns the place takes pity, only laughs a little and explains what this spice is for, or that that crazy looking thing’s a fruit, and they ultimately buy whatever it is because Eddie wants to try it now, because he got invested and—

Eddie should pull off the fucking road; his head’s a mess, he can’t see for the way his eyes are welling, streaming, the way he’s shaking with sobs that don’t exactly burst forth, just leak from his lashes as he trembles horrifically because…

Because they were maybe gonna have stir-fry, tonight. Even without the good vegetables.

They were—

Eddie thinks it’s fucking cruel, kind of unbearably so, that his brain’s dead-set on still processing the mundane little perfections of his life as if every single one of them might be dashed to pieces, might be hanging by a thread, might be entirely fucking gone, and he, he…

He can’t. He just, he fucking can’t.

Because that the thing, isn’t it: the scenarios he’s imagining aren’t hypothetical—they’re all memories, too. Steve bloodied, Steve bruised, Steve’s bones broken and flesh torn. Steve still, too still; Steve’s skin under Eddie’s hands when he can’t find a pulse because Eddie’s shaking, same as now how Eddie is fucking shaking—

Eddie knows all those things. They’re so long ago, now, so distant but his fucking cells will never forget every single moment he saw the man he loves bigger than his own goddamn life hurt like that; be risked like that. Be lost like—

And that’s the difference. That’s what is unravelling him as he speeds through the streets quicker than he should, probably breaking more laws than he could count and definitely more than he gives a shit to notice: it’s the losing.

Because the first times, even the times that came after Steve was his: they didn’t come with the loss of so much time, so much of themselves, so much glorious life that they’d built between them, the struggles and the triumphs, the hard choices and the easy things that weren’t choices at all: everything hand-in-hand, every night spent curled around each other, all of them, all of him, inside that chest since he was twenty fucking year old, and Eddie doesn’t just not know how to be outside of what he shares with Steve.

Eddie doesn’t think his own heart can survive, if if Steve’s isn’t next to him.

Eddie’s damn fucking sure no part of him would want to.

It takes him a minute to steady himself enough to get out of the car, once he finally reaches the ER. Steady his body, but more his fucking soul because the whole of him is shaking, is crying out, is wailing unfettered and breaking because he’s terrified, he is goddamn terrified of what he’s going to find when he walks in but he has to, he has to because whatever awaits him, that’s his husband, that is the love of his whole goddamn life and if the worst is going to come for him he’ll face it like he’s faced everything else: at Steve Harrington’s side.

If the worst comes for one of them, then it came for them both.

So he’s stumbling, shuddering, but resolute in his chest when he flies through the sliding doors, eyes still swimming, unfocused but he makes himself take a deep breath—it takes a few tries, and he doesn’t quite succeed, it’s still a tremorous thing and his lungs are still in revolt, but it’s something, and he’ll take something; he has to to take something—

“Eddie?”

He almost doesn’t register it, the voice from the sick-spiral of his memories, all the love on the table to be forfeit—

He almost doesn’t register that his name’s not coming from inside his head.

“Oh my god, what happened?” There’s a flurry over motion in front of him, and he blinks rapidly to try and pin it down because it looks familiar, it smells familiar, it aches familiar in his chest but:

“What is it, what’s wrong?” and fuck, it feels familiar when a hand reaches for his cheek where it’s still damp, tacky for the tears; when another hand slides itself into Eddie’s and draws him in, a hand that fits like no other hand in this world or any other, ever—

“Are you okay?”

And the hand on his cheek turns him and follows his eyes and it takes that long for him to clear his vision properly, but now he’s just blinking so much because that, that can’t be, even if it feels in every goddamn way like it really is, but it can’t…

It can’t be Steve here, whole and on his feet and looking at Eddie with so much worry, so much heart as he tilts Eddie’s chin a little this way, that way, squints to try and see…something.

Eddie’s breath tears out of him in a wet fucking gasp;

“Am I okay?”

Because Eddie’s really not the one to fucking worry about here, Steve had—

“You’re in a hospital, Eds, that’s not usually where you go when you’re okay,” Steve’s eyes widen as he he slides both hands now to Steve’s head, holding him still and assessing…something, maybe, Jesus: Eddie doesn’t know, but he does know that the touch on him now makes his…makes his heart feel safe and he’d been fucking terrified he’d never feel that again.

“Fuck, what happened, baby, did you hit your,” and fingers are dancing gentle across points on Eddie’s skull, so delicate and careful and he can’t fucking help it—

“Are you real?”

Because he needs to know, he needs to know with words because this feels…this feels right and warm and impossible but also true, so.

He needs to know. “Am I…?” Steve’s lips part and his brow furrows before his jaw clenches in that dependable way he has of squaring up to the monster at hand, no matter the kind.

“Shit,” he breathes out slow but then he nods: resolved; “shit, okay. Okay, let’s find—“

“You are real,” and it turns out Eddie didn’t actually need him to say it. He just needed to see the flash in Steve’s eyes when he was ready to take on the world for the sake of love, the way he positions himself a little different in front of Eddie as he keeps one hand at Eddie’s cheek but then slides to brace more at his neck, purposeful, like he’s splinting a wound or something, and then a hand grabs for Eddie’s own again and: oh.

Oh yes. That is Steve Harrington, living and breathing and solid and real, because no one else protects like this.

No one.

Eddie’s heart stumbles, jackrabbits around a little, almost like a reset: like it knows as the implications sink in to Eddie’s mind that it’s not destined to break anymore.

“Yeah,” Steve agrees too easily, distracted as he tugs the gentlest bit at Eddie’s hand, toward the nurse’s station; “yeah, and we should—“

“And you’re okay?”

“I’m fine,” Steve shrugs it off, but Eddie…Eddie’s vision is clearing. His pulse is settling. He can hear above the static and his limbs are getting lighter.

“You’re one-hundred-percent okay, not a scratch on you, not a single thing wrong,” he needs to make sure, like, so fucking sure.

“I am fine, Eddie,” Steve turns to look him straight on, exasperated and anxious and vibrant with it, so alive in it; “but you’re—“

Eddie’s hand moves almost without his conscious consent, definitely without a plan to grab at Steve’s arm and pinch his skin because Eddie was vaguely toying with the idea of pinches himself, and maybe with poking Steve a few extra times to make sure he didn’t disappear, but apparently his brain landed on: pinch Steve, avoid confirmation bias if your head wants to lie enough to make him real just you you, because you need him that bad.

Steve startles, and turns those beautiful brilliant bronze eyes on Eddie, stretches wide as he gapes a little at his husband.

Eddie…Eddie is here, in front of his living-breathing-gorgeously-aghast husband.

“Okay, oww,” Steve drops Eddie’s hand and pulls back, leaving Eddie’s head to its own devices as he looks a little shocked, shooting just shy of a glare Eddie’s way: full of questions.

Eddie—now that the biggest one’s solved, and solved so perfect, so gentle and sure and he doesn’t have to bury the soul of him; he doesn’t have to bury his soul—but now?

Eddie also has some fucking questions.

“Where’s your phone?” seems the most relevant to start with.

Steve blinks, frowns a little:

“It got lost in the crash—“

“Crash?” Eddie’s tone pitches up to squeak a little because: Steve’s here and whole in from of him, yes. But fuck, there was still a crash? He was—

“Not mine, my car’s still parked at fucking Jiffy Lube,” Steve adds with a huff; “I saw it happen so I stopped and—“

And Eddie knows his husband. He knows his husband better than he knows himself, and Eddie’s kinda made it a point of pride for how self-aware he’s grown to be these days, in living this life and loving Steve beyond the bounds of living at all. But he knows his Steve, and so he knows damn well what happened.

Car runs into car. Steve sees it and jumps out to help. Because Steve Harrington is a protector. Steve Harrington is a helper. Steve Harrington is the best man Eddie’s ever known.

Soon as he jumped into the fray, he wouldn’t have thought once about a fucking phone.

And Eddie, Eddie just, he needs to—

He grabs Steve’s hands and wraps them around his own waist, lets them go and then pulls Steve tight to his chest and buries his face in Steve’s shoulder as Eddie winds his way around his husband, feels him breathing, feels the tickle of his hair.

“You’re gonna kill me, Stevie,” Eddie whimpers, that going tight now all over again:

“You’ve got the biggest heart of fucking gold the world’s ever seen,” he moans into Steve’s collar; “and you’re going to fucking kill me.”

Steve doesn’t say anything, but his hands move up to rub Eddie’s back, rote and learned and he might not wholly get, yet, what Eddie’s putting together, and where Eddie’s head’s been, what his heart’s been through, but the first thing he knows, and does like clockwork, is to love of his partner, to soothe him even if he doesn’t know what for.

“Someone found your phone, and they, umm,” Eddie licks his lips, takes a suffering breath and tries to straighten but he’s not ready, not yet: he slumps right back onto Steve’s shoulder:

“They called the studio.”

“Shit,” Steve hisses, bunches his hands in Eddie’s shirt and draws him tighter to his chest: “shit, they interrupted,” and oh, fuck no, fuck regretting the interruption—

“They told me they found it at a crash site,” Eddie grits out, the hurt of it still raw, like just saying the words no matter where they landed in trust, just recalling those minutes that felt like full nightmarish lifetimes, reopens the tender wounds it’d left in hims; “they found it with the case broken,” and Steve leans back, then, eyes saucers as he meets Eddie’s gaze, breath catches harsh.

“Oh,” Steve whispers, eyes darting back and forth between Eddie’s, taking the whole of him in and then he exhales so heavy:

“Oh, babe,” he murmurs, fucking mournful before he takes his hands and links them behind the base of Eddies’ skull and draws him in to the center of his chest, envelopes him there whole: “come here.”

And Eddie falls into that chest—rising-falling-living—he falls into Steve so fucking fast

“I am totally fine, I promise you,” Steve breathes again Eddie’s ear, close and dear and real: “car’s fine—“

“I don’t fucking care about the car—“ Eddie tenses up, appalled at the implication that he gave one single goddamn thought to the car— “No, like, as proof,” Steve’s quick to correct him, to ease the hackles on him; “I wasn’t in the crash, but it was pretty bad and,” Steve shrugs a little then adds soft: “I keep my first aid certs up to date for a reason, I figure, right?”

Jesus; yes, okay. Steve’s savior complex had largely mellowed to a non-interdimensional-threat level with time but he’s meticulous about keeping every skillset he’d gone out of his way to learn from professionals before they’d gone up against the Upside Down for the last time sharp and at the ready for anything: even now.

Fuck, but this beautiful, brilliant, impossible man.

“I was helping, best I could, until the EMTs got there,” Steve tells him softly, fills in the gaps because he knows Eddie’s mind, all the pictures it paints for itself, and in times like these it’s always the worst possible pictures—he knows Eddie needs the slate wiped clean with the truths, blessedly softer, in this:

“Police wanted me to stick around for a statement but the girl who was driving the first car, she was so panicked and she didn’t want to go alone so, umm,” Steve huffs a little, shifts against Eddie gentle and solid and here: “she said she knew me, she was pretty desperate I think, so I rode here with her,” and of course he did, of course he did because he’s Steve; “now I’m just waiting to make sure she gets out of surgery okay,” he squeezes Eddie then, like a punctuation, and it feels so, so fucking good; “also still have to give the goddamn statement, but fuck knows that’s just hurry-up-and-wait,” he turns, and he kisses Eddie’s hair then and Eddie feels something snap in him, give way and the lingering tension spill from his frame as he gasp a little on a breathy exhale:

“I love you so much,” and he does, god: god, but how much he loves this man.

“I love you too, baby,” Steve mouths against his head and Eddie closes his eyes and nuzzles his a little closer as he puts it into words, because it feels like he needs to, it feels like in Steve’s arms like this, pressed up close to him to feel this undeniable life in him: it feels like the coast is clear enough to risk it, to confess:

“I was so fucking scared,” and the words only break a little, and that’s more than Eddie honestly expected.

“I am so sorry,” Steve bows his chin down to graze lips against Eddie’s hairline, delicate and intimate and shivery, trembly down Eddie’s spin for the best of reasons, now.

“Not your fault,” Eddie’s quite to counter, to make clear, because: “shit, you didn’t do anything, I just…”

Eddie makes himself pull back and meet Steve’s eyes, reaches out to frame his face, dear and desperate:

“I can’t lose you,” he moans a little, begs a little, says it with a bare line of something primal echoing in it, scraped straight from his bones: “I cannot ever lose you.”

“I know,” Steve turns and kisses one of his palms, and those two words hold the promise of five more they’ve said so many times, and held so true between them for so many year, through so fucking much:

It’s the same for me.

And to be loved the same as he loves is a fucking privilege; it’s heady and it’s wonderful and Eddie needs it, needs Steve, more than goddamn air.

“Sit with me?” Steve covers Eddie’s hands with his at his cheeks, and nods a little toward the blessedly-quiet collection of chairs by the windows; “while I wait?”

“Nowhere else I’d go,” Eddie says it like the given that it is, and pulls Steve close to kiss him full, to press his lips to Steve’s and drink his warmth, his breath, to feel it sink int past his heart and pump through his veins:

“Not ever, Stevie,” he speaks against Steve’s lips, all of him in it, every vow inside it:

“Not ever.”

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