I'm feeling jipped here. I saw all the amazing graphics and social media posts, family trees, gifs, references, casting, and whatever else you made for your clexa fic. Where is the gorgeous Kate and Yelena content for your million AUs. Give us moodboards, give us what the kids and the OCs look like, give us references for their houses, give us anything!
listen...........CFAU was ONE thing. there are literally 11 (!!! - yes, i counted tonight) ongoing kate x yelena aus right now. but just so you don't say i never gave you anythingggggg here is the laziest-done-in-literal-five-minutes references of k + y for like...FIVE of them lol. i didnt even bother with any of the period aus because im just not going to find references for all of them. i could definitely do victorian, royal, and maybe viking, but no way in hell am i going to find anything for gladiator, versailles, or black plague. i also didnt do the kids or any of the supporting characters because...again...five minutes and there's truly like a dozen kids in this handful of aus alone. if you bug me about it enough i might get around to it.
anywayā¦here you go:
FBAU:
BGAU:
MAU:
PDAU:
KYAU [AO3]:
//
2025 UPDATE:
I'm pinning this because people keep asking for links to all the AUs in one place so here is a link to another old ask with the rest of the AUs not listed here.
People also always ask how they should be reading these. Scroll to the end of every tag. Read from bottom to top. So oldest to newest. That's how it'll all make the most sense.
--
Update #2: There's also now a Vampire!Kate and Human!Yelena AU here.
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Iāve never seen Sterling point, hadnāt even heard of it until I saw your post. I want your version on TV right now. How do we make that happen? Go fund me /kickstarter.
Your ability to write angst is better than anything Iāve seen on TV in a long time. Iām just left wanting more after everything I read.
if y'all wanna gofund it, I'll commit my life to it lol. I could use an excuse to get paid to think about them because oh my god please send help bro I'm trying to work on this script and I can't even really concentrate because I can't stop fucking thinking about community strap perpetually hoeing addicted to flirting British lesbian becoming absolutely infatuated by her big city girlfriend who is kinda immune to her trying to be suave with her at all times and likeā¦they don't ever get to be soft not really theyre basically both parents oona has had to grow up so fast and has too many responsibilities with maple being dumped on her lap and annie has basically had to mom her useless dad and even more useless brother her entire life no one ever looks after THEM but they find a person who is used to being a caregiver and then they get to feel whats thatās like for the first time ever??????? call 911 because I think I need to be put in a padded room and sedated to stop thinking about them
š noooo, OMG thatās not what I meant. Shitty and your writing DONT belong in the same sentence. Oh fuck me, how did I miss out a word. Fuck. Thatās not what I meant. fuck me sideways First time sending a message to someone and look what happens. God Iām never sending a message again. I love your writing, nobody writes angst like you. Im gonna go walk into the ocean now
Dudeeeeee I know it was a typo. Obviously. I was joking. Promise. It was a lovely message. Please send a thousand more. Honestly. It was so clear that you just missed the word. I was fucking with you.
Papi hear me out... just get into the writer room for season 2 make them all see the potencial and help them turn the very cliche romance into an actual groundbreaking thing! I believe in you and your bi-greatness
For real tho can you imagine the possibilities if we didn't live in the most homophobic timeline ugh what a waste
Start a petition. Tell them to hire me. I've been doing mostly movies lately. I miss writing TV. And would love some writer's room money lol
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Your story is stuck in my head. Ithink Oona stays with Tamsin, with that āshe never did me wrongā and assuming that THIS is whatās best for Tamsin - that she stays. And sheās so stubborn and I think Tamsin figures it out eventually but maybe keeps it to herself because she also wants to keep Oona for herself and focusing on the delusion that Oona staying means she was the choice. But thereās always something that brings Annie back and itās a cycle. Annie always finding reason to return thatās definitely not Oona (but we all know). ITS STUCK. IM DROWNING. I support womenās rights and womenās wrongs lmao. Itās your story obvs so Iām just guessing and thought about this⦠because you love it when weāre in pain so my head justtt went over to pure angst. I get it. I see what you mean with these two and the potential. But also THE PAIN?? yikes
BUT I DO HAVE TO KNOW since Ramona also STILL didnt know after the 4year thing⦠I donāt if I just missed itā- what happened after Ramona went back? How did Oona navigate Ramona being back, and Annie leaving. When Annie left, did Ramona also leave? Because if Oona was miserable, surely Ramona would notice? Or because they broke up before she left, they werenāt really speaking? Itās just that tiny blip and gap that I am kind of confused with.
Should I just tell y'all what happens since I know I'm not gonna clean up all this shit I've written? Because the basic gist is that they're both FUCKING STUPID lol. This is what happens:
Annie left because she immediately assumes Oona regrets cheating on her gf. But Oona didn't. Oona actually spent the day thinking how the fuck she was going to break up with Tamsin. Oona just left because she was INSANELY late for work. Ran out basically. Stopped home just to put not pajamas on. Ran back out to work. She was home for like five whole seconds and just forgot to take her phone from where she'd left it charging the night before.
So Annie leaves the island without saying anything. Again. Oona finds out when Ellis mentions it after he comes back from flying Annie back to the city. Oona is PISSEDDDDD. Now she assumes Annie regrets it, will sell the island, is never coming back. Out of spite she impulsively proposes to Tamsin. That night. No ring planned or nothing. Justā¦we should get married. And Tamsin says yes. They start planning the wedding right away. Oona wants to get married fucking ASAP. How does Annie find out? She sees every one of their mutual friends congratulating Oona and Tamsin on their engagement online. Literally like...the next day after they spent all night fucking lol. And Annie is like FUCK.THIS.BITCHHHHHHHH so she doubles down on San Francisco, takes the job, moves there.
Hold on at least let me dig up the conversation when they see each other next because I did write it out. I'm still unclear on what it is that brings Annie back to the island months later, but she does come back. Duh. I just have a few different ideas as to why and haven't landed on one. But anyway...she comes back...six days before the wedding lol. So this is a piece of that scene where they see each other again for the first time:
āAnd you waited until six days before my wedding?ā
āI didnāt know when your wedding was.ā
āYou knew I was engaged.ā
āYes.ā
āYou couldāve called.ā
āI donāt have your number.ā Oona laughs bitterly at the excuse. That doesn't stop Annie from pressing further. āYou proposed the day I left.ā
āSo?ā
āYou proposed because I left.ā
āI proposed because I want to marry her.ā
āYou decided that the same day we had sex?ā
Oona takes a step toward her. Glares at her.
āYou're a fucking idiot.ā
āIām the idiot?ā
āYes!ā
āI woke up and you were gone! I figured you regretted what happened. I didn't want to cause any issues for you so I left.ā
āI was three hours late for work!ā
āI didnāt know that!ā
"This island isn't that big, Annie. There's only so many places you I could've been. You could've found me had you wanted to."
"And you had my number on that form. You could've just fucking texted me to tell me where you were."
āMy phone was sitting on my fucking nightstand!ā
āHow was I supposed to know that?ā
āYou couldāve waited instead of fucking disappearing!ā
āAnd you couldāve at least left a note!ā
They're morons but they're MY morons lol
As far as Ramona. She came back for a bit after the school year ended which is when Annie and Oona had to start sneaking around. It was a few weeks but it was enough to derail them on top of the college shit anyway. Ramona has never really lived on SP again. They sorted out all the paternity paperwork which means she's now both Canadian and American. So she moved to NYC to live with Steven full time. She finished school there. Started college there. This really isn't home anymore. So like she still knows and loves all these people from the island and they DM/follow each other on social media/whatever but she's not CLOSE with them anymore. And because she wasn't even living there anymore the whole her and Oona thing was kind of DOA anyway.
KYFBAU - Kate has a bedsheet. She doesn't think anything of it for a while.
Yelena brings pictures of the kids. Kate missed the baby's first words. Maks got a finger painting class one weekend. Alex is getting good on the piano.
The bedsheet starts making shapes in her mind. Maintenance keeps the pipes and rafters covered for obvious reasons. Kate knows this. She's a coke addict, not stupid.
A lawyer visits with Yelena. Discussions of the divorce. If there's alimony, what child support looks like, if Kate gets visitation.
If. Not what kind. That comes after they decide she gets to see her kids at all.
The light fixture is mounted to the ceiling. 4x4 post when Kate saw maintenance change those stupid fluorescent bulbs.
Shes lost a lot of weight since coming here.
The pieces form together in a way she doesn't like.
Kate sees a caller ID on Yelenas next visit. Ava with a heart. She doesnt mean to let Yelena know she saw it. Yelena does, however, and the trip turns sour. Yelena deserves happiness, Kate knows that. She screwed it up.
But the bitch was never home either. Kate deserved a wife who was home.
Her hands start playing with the bedsheet.
The staff see her doing this. They put her in extra therapy. Increased monitoring. She doesnt like it. She was just keeping her hands busy.
Yelena sees the way her hands keep turning on the next visit. She makes a point to tell the doctor after. The doctor assures her they know and are taking steps.
The bedsheet calls her some nights when she sees the nurse stop watching her.
(Part of me thinks I should put a warning here, part of me is too cynical and thinks the average user doesn't have the reading comprehension anymore to put 2 and 2 together)
lmao not you almost making kate play hangman with herself jklsdhfgjskdfhgkj I like it when you meet me at my darkness level we're all pain demons here š
I love if loves so easy⦠I only found it a couple of years ago ( I was very late to the party). Easily one of the best things Iāve ever read!
Do you think youāll revisit it or add more too it? I had loads of questions when I finished about Lexas relationship with her daughter throughout the years it was heartbreaking to read.
Where did you get the idea from and how long did it take you to write? š
Oh damn. You sent this two weeks ago. I'm so sorry I missed this somehow. I won't say never because I'm never more productive in everything else than when I have a script to write so...who knows where procrastination and the perfect clexa manips the instagram algorithm has insisted on consistenly feeding me for some goddamn reason these past couple of weeks but there are no ACTIVE plans to revisit it at the moment. But I do find it wonderful that 10+ years after I wrote that it's still finding people. Thank you for reading and letting me know you enjoyed it. Feel free to ask any of those questions you had. I'll try to get around to them.
I don't even remember the story of how it came to be. If I remember correctly I feel like it was me screaming all these headcanons at Vittoria for moooooooonths before I ever posted any publicly. And then people were quite insistent that I put it on AO3 so I did. As far as how long...I feel like I wrote 80% of it in like...no time. I think I wrote like the first 100k words in like a week. And then I don't even remember how long it was but it took me fifty years to post the final chapter. People were so mad at me lol. But it's out there and the pitchforks were put down haha.
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That was beautiful. Also, ouch???? Missed you being a menace with the angst around here lmao
I truly can't stop thinking about that first time seeing each other so I'm going back instead of forward. The last chapter was this same night. This is the morning. Here's 6.2k of Annie arriving at the island for the first time in four years.
--
The thing nobody tells Annie about getting everything she wants is that eventually the things she wants begin competing with one another.
For most of her life, ambition had been wonderfully uncomplicated. There was always a next thing. A better school. A harder class. A more prestigious internship with an acceptance rate low enough to make getting it feel improbable. Another summer somewhere important, sitting at conference tables with people twice her age and pretending not to notice when they started directing questions at her instead of the person technically supervising her. Annie likes ladders. Ladders are honest. They tell you where to put your foot next.
Graduation removes the ladder. Suddenly there are doors. All of them open. Which turns out to be considerably more stressful than having any of them shut.
Three days after commencement, Annie sits cross-legged on the rug in her Palo Alto apartment with her laptop balanced on one knee and the remains of a celebratory bottle of champagne sweating onto a coaster beside her. Her diploma still leans against the wall because she hasnāt figured out where people are supposed to put those when theyāre twenty-two and donāt yet possess an office in which to display them. Her cap and gown are still draped over the back of her dining chair. Flowers sent by three different distant relatives are dying at different rates around the room. On her screen, her future exists in tabs.
San Francisco wants a final answer by next week. The offer is obscene for someone her age. Annie started as a āStrategy & Operationsā summer intern at a grid-management company before her boss found enough reasons to keep her on part-time through senior year. What began as an internship stopped resembling one within months. Annie kept getting handed increasingly complicated problems involving teams that werenāt talking to each other, clients nobody quite knew how to or wanted manage, launches that existed beautifully in decks and considerably less beautifully in reality. She kept fixing them. Now the company wants her full-time, with stock, a signing bonus large enough that Connor made an actual choking noise when she told him, and enough responsibility that the word ājuniorā attached to her title is mostly decorative. Sheās also already conducted an extensive San Francisco apartment search despite repeatedly insisting she hasnāt made a decision.
London wants her too. Different work. More interesting in some ways, less safe in others. An international economic policy team she applied to mostly because the application existed and Annie has never encountered a competitive process without taking it as a personal challenge. She hadnāt expected to get it. Then she did, which has created the irritating problem of having to decide whether she actually wants the life she applied for simply to prove she could have it.
Then thereās grad school. Four acceptances, one generous scholarship option, several professors whoāve informed Annie with varying degrees of subtlety that sheād be an idiot not to continue. She keeps waiting for one future to become obviously correct. None does.
Her early onset quarterlife crisis comes to a grinding halt when her phone buzzes against the rug.
CONNOR.
Annie considers ignoring it. It buzzes again. Then a third time. Persistence has apparently become a key pillar of every technological advance of the twenty-first century.
āYou know, some people interpret unanswered calls as a social cue,ā she says when she finally picks up.
āCongratulations.ā
āYou already called me yesterday to say congratulations.ā
āI have a once-in-a-lifetime business opportunity.ā
āNo.ā
āYou donāt even know what it is.ā
āI know you.ā
āItās a company.ā
āTerrible idea already.ā
āCan you let me finish?ā
āYouāve said less than a dozen words and somehow I already feel financially exposed.ā
Connor sighs with the put-upon exhaustion of a man whoās spent his entire life being tragically misunderstood by his twin. Still, he explains. There are investors. Thereās a product. Thereās a market gap. Thereās a partner with engineering experience and another with a vague but impressive-sounding relationship to venture capital. There are projections. Annie knows said projections do in fact exist because Connor sends them while heās talking.
She opens the attachment despite herself, skims the first page, scrolls through the second and has to physically stop herself from groaning by the third.
āConnor, these financial projections are ass.ā
āThank you.ā
āThat wasnāt praise.ā
āYou got as far as opening them. Thatās practically an endorsement.ā
Annie scrolls farther. āDonāt do this.ā Silence. Not normal silence. Connor silence. Annie stops scrolling. āSilence with you is never good.ā
āI need my money.ā
āWhat money?ā
āMy island money.ā
Annie frowns. Then she understands. Her eyes leave the screen.
āNo.ā
āSissyā¦ā
āNo.ā
āYou havenāt even heard me out.ā
āThe island isnāt your checking account.ā
āItās half mine.ā
āNot half. Itās split three ways. And regardless, the answer is no.ā
Connorās voice changes. Heās not angry yet. Heās careful, which is somehow more irritating.
āWhy wonāt you sell?ā
āWeāve had this conversation.ā
āNo, we havenāt. I bring it up. You immediately say no. Thatās not a conversation. Thatās you thinking youāre winning because you assume you can out-stubborn everyone elseā¦Monaās willing to talk about it.ā
Annie sits straighter. That one she hadnāt expected.
āShe is?ā
āYup.ā Annie says nothing. Connor lets the silence sit for a second before continuing. āSheās in New York. Sheās got school. She doesnāt go there. I donāt go there. You donāt go there.ā
āIāve been busy.ā
Her body reacts to that statement. A tiny contraction beneath the ribcage. An old instinct reaching for an old wound. Fortunately Connor isnāt there to see it.
āWhy exactly are we preserving a place none of us wants to be in?ā
The apartment suddenly feels too small. Annie gets up and crosses to the windows. California sunlight washes the buildings below in an almost obnoxious amount of optimism. Her laptop waits on the rug with three excellent futures glowing on its screen. Sterling Point belongs nowhere in any of them. That should make this easy. It somehow makes it more difficult.
Connor sighs into the phone. Loud. Dramatic.
āYou want to know what I think?ā
āNever. Yet somehow I still do. Constantly. Against my will.ā
āI think you donāt want anybody else to have it.ā
Annie looks through the glass. She doesnāt refute it.
āIām hanging up.ā
āAnnabelle.ā
āI fucking hate when you call me that.ā
āI need the capital.ā
āThen raise it.ā
āIām trying.ā
āTry harder.ā
āEasy for you to say. You just got offered enough money to become a Republican.ā Annie snorts. āCome on. Youāre about to start your life. Ramona already started hers. Iām trying to start mine. What exactly are we holding it for? Itās land none of us gives a fuck about full of people we donāt give a fuck about.ā
Her brain rebukes that statement so quickly Annie almost resents it for the lack of dignity. She immediately gets flashes of a dock in late afternoon. Wet blonde curls. A crooked smile. A soft British voice turning two ordinary syllables into something intimate enough to belong to only one person. She can hear Oona saying ābabyā so vividly it almost knocks the air out of her. Annie kills the thought before it can develop a pulse.
āGive me a week.ā
Connor goes quiet.
āA week?ā
āIāll give you an answer in a week.ā
āYouāll actually consider it?ā
āYes.ā
āSeriously?ā
āI just told you I would.ā
āThank you.ā
Annie ends the call.
For several minutes she stays beside the window with the phone still in her hand. She forces herself not to think about Sterling Point. She thinks about San Francisco. London. Grad school. She thinks about salary projections, moving costs, visas, whether she actually wants another degree or simply enjoys being excellent at school.
She absolutely doesnāt think about blonde curls. She doesnāt. Not at allā¦Which is exactly why she walks back to her laptop and books a flight to the last place she ever saw them.
//
Annie tells herself sheās going because selling something without seeing it one last time would be irresponsible. That explanation holds together remarkably well as long as nobody examines it.
Four years is a long time. Places change. People move. Lives become unrecognizable. Thereās every possibility the two foreign girls who once lived on a boat at the marina are somewhere else entirely now. Oona couldāve gone off to college. Maple couldāve gone back to England with their mother. They couldāve crossed an ocean, joined a circus, gotten married, become accountants. Annie genuinely has no idea.
That had probably been the point of Oona unfollowing her within twelve hours of Annie getting on the sea plane and heading back to New York. Then subsequently blocking her before the end of the day. Not just Instagram. Annie came up empty everywhere she thought to look during that first humiliating month. Oona was nowhere to be found anywhere she searched on those nights when sheād open her phone at two in the morning and typed her name into some search bar. Not being blocked wouldnāt have helped anyway. Oonaās accounts are private. So are Annieās. Even the pathetic modern consolation prize of watching someone move on from a safe distance had been denied to them.
Eventually Annie stopped checking. Then she got very good at never letting herself arrive at the point where wanting to check would even occur to her at all.
College helped. Stanford was magnificent for that. There was always something due. Someone smarter than Annie in some room she wanted to be the smartest in which forced her to work that much harder. Some competitive fellowship, research position, internship or professor willing to occupy every cubic inch of attention Annie might otherwise have wasted remembering how Oonaās voice changed when she was turned on.
Annie became pretty good at being busy. Then she became extraordinary at it.
One summer disappeared into an internship people had warned her was nearly unobtainable. She got it. Another disappeared into the thing she was supposedly too young or too inexperienced to get. She beat out 300 applicants for it. Semesters collapsed into papers, exams, interviews, parties and people whose names Annie sometimes remembered after sleeping with them.
She dated. She fucked around. She had relationships that were pleasant enough to hurt no one and brief enough to require very little justification when they ended.
She never compared anyone to Oona. That wouldāve been senseless. Her standards were untouchable. So Annie merely noticed things.
A woman who kissed too carefully. A man who asked what she wanted in bed and made the question feel like homework. A situationship whose hands were beautiful but always seemed to arrive half a second after Annie wanted them somewhere. Someone who always said her name at the wrong moment. Someone who laughed when Oona wouldāve smirked. A person who tried calling her baby once and accidentally ruined otherwise perfectly good sex.
All observations. Not comparisons. Thereās an important distinction. Annie has spent years insisting to herself they're not the same thing.
//
She leaves California almost believing her own bullshit. But the closer she gets to Sterling Point, the less cooperative her body becomes. In New York she checks the weather six times. When the little commuter plane that Ellis still pilots lifts off for the short flight north, she convinces herself the nausea is merely a side effect of the turbulence.
Annie looks out the window. Water appears beneath them. Then islands. Then a familiar crooked coastline she hasnāt seen since ā-teenā was still attached to her age. Her entrails recoil.
The businessman across the narrow aisle glances over. Annie twists her face into something polite.
āYou ever been before?ā
āNo,ā she lies.
āItās a great little summer place. Iām looking at some property there.ā He leans slightly closer, apparently delighted to have acquired an audience. āBeautiful house. Completely absurd price for something you donāt even own the land under, but apparently the family that owns the island only does long-term ground leases and no oneās ever had an issue. Iāve heard the locals are all hicks and sleazeballs, but itās easy enough to stay away from them.ā
āSounds lovely.ā
He either doesnāt hear the dryness or chooses to interpret it as agreement.
Annie looks back out the window as Sterling Point comes into view. Itās smaller than she remembers, which feels offensive somehow. Four years ago, it had been large enough to contain her entire life. Now she can see itās edges.
//
This Tuesday has given Oona absolutely no indication it intends to ruin and redirect her entire life.
Itās hot. Bright. Tedious. Obnoxiously ordinary. Oona is dressed accordingly. Old denim shorts, scuffed work boots, navy marina shirt with one sleeve rolled higher than the other. Thereās grease worked into the side of one thumb and another streak along her jaw she hasnāt noticed. Her blonde curls are dragged off her neck with a hair tie that stopped performing the bulk of its assigned function several weeks ago.
The sun reaches itās peak and the marina has become a reflective oven of white decking, windshields and water. Oona has spent most of the morning moving between the rental office and the slips. Fuel delivery. A cracked line on a boat owned by a man who somehow possesses three of them without understanding any of them. Two reservation mix-ups. One tourist who believes the phrase āno wake zoneā is a personal affront. And now the printer has decided invoices are less a function it performs than a privilege it may revoke without notice.
The seaplane from New York landed five minutes ago. That usually means money, luggage and at least one person offended by the concept of waiting. Today is no exception.
āDonāt be such a fucking twat.ā
Oona smacks the side of the printer. Nothing. She hits āPRINTā again. Still nothing. Oona releases a string of curses under her breath just as the bell over the office door gives its ugly little clang.
āBe with you in a sec,ā she calls without looking up.
āI was told thereād be boats available.ā
Oona closes her eyes for half a heartbeat, rearranges her face into something half delightful and finally looks toward the counter. A man in pressed summer linen is standing there with the faintly aggrieved expression of an individual unfamiliar with problems money doesnāt immediately solve.
āWere you told that by us?ā
āExcuse me?ā
āDid you reserve one through the marina?ā
āNo. My broker saidā¦ā
āThen your brokerās a hopeless optimist.ā Oona gives him the customer service version of her smile. āWeāre fully booked.ā
āI need something for the week.ā
āThen ideally you needed to ring us about six months ago.ā
āI just flew in from New York.ā His expression tightens.
āSounds lovely.ā
Right beyond his shoulder, someone says, āThank you so much. Yeah, this is perfect. Thank you.ā
Oona stops breathing. Itās not dramatic. Nothing falls out of her hand. The room doesnāt spin. Her body simply ceases participating in any and all necessary functions for a moment.
Her finger stays suspended above the keyboard. Breath catches halfway into her lungs. Her mind empties with snappy speed.
There are voices people forget. Oonaās forgotten teachers she once saw every day. Customers who spent whole summers telling her intimate details about their marriages. Women she slept with. Men she drank with. People she once assumed would remain in her life long enough that remembering them would never require effort. But she couldāve requested to have Annie Jacobsonās voice surgically removed from her brain and some phantom version of it would still be living in her bones.
Oonaās eyes dart to the doorwayā¦And there she is. Annie is just crossing the threshold into the office with her suitcase in tow. The man in linen keeps talking. Oona hears none of it.
Oonaās eyes catch Annie for perhaps one second. Enough to confirm that her sanity hasnāt finally broken from heat exposure. Just enough to see dark hair and a face she knows better than several parts of her own body. Then Oona looks away. Immediately. Hastily.
The man is still speaking. Something about the house heās viewing and some arrangement his agent apparently promised. Oona fastens her attention to him with the desperate concentration of someone defusing an explosive.
āRight, wellā¦ā she says, although she has absolutely no idea what sheās agreeing with. āThere arenāt any self-drives left. We can put you on our share.ā
āWhat does that mean?ā
āLike a water cab.ā Oona responds exasperated as she wills her eyes to stay locked on this man and not wander to the brunette directly behind him.
āI need to get back and forth whenever I want.ā
āBest I can do is suggest you call the number on that card and request a pickup when you need it.ā
Oona grabs one of the business cards from the hold and extends it to him. Her eyes go everywhere except Annieās direction.
āHow long does that take?ā
āDepends how busy we are.ā
āThatās not very specific.ā
āNeither is āwhenever I wantā.ā
Somewhere behind him, Annie readjusted. Her luggage wheels screech across the floor. Oona doesnāt look. She wonāt look. Looking would be catastrophic.
Oona picks up a clipboard, takes his name, makes him spell it twice even though she got it the first time, asks for the property address, the number of passengers, his mobile number, whether he requires luggage assistance. She enters each piece of information with meticulous care because this is what her life has become since the girl who unwound her like no one else had before or since has materialized after four years of total silence. Oona prefers to hide inside maritime admin than deal with whatever that entails.
The printer screeches. Oona nearly jumps out of her skin. The man frowns at her.
āCan somebody just take me now?ā
Oona grabs the radio.
āMaple. You copy?ā
Static. Then: āGo ahead.ā
āIāve got one passenger for the Carroway viewing, luggage with him. Can you collect from Slip Five?ā
āTwo minutes.ā
āCopy.ā
Oona puts the radio down. āSlip Five. Straight out, left at the fuel dock.ā
Oona gives him a perfectly pleasant smile. The man stares at her. Then, quite unfortunately, leaves. The bell clangs shut behind him. Her and Annie are left alone in the office. Silence follows.
Not actual silence. Thereās a radio muttering somewhere. Dock lines knock softly against masts outside. The broken printer makes a mechanical racket that suggests itās considering death again.
But the room Oona is standing in has narrowed to one person. And now she has no choice but to look. Really look. And for one awful, glorious, universe-altering second, she genuinely doesnāt understand what sheās seeing.
Annie stands on the other side of the rental desk.
Real-life Annie. Not one of the old Polaroids Oona has stashed inside a plethora of books and steals glances at every so often. Annie laughing with her head thrown back on the dock. Annie waist-deep in the water, squinting into the sun. Annie half asleep in one of Oonaās sweatshirts. Annie kissing her cheek while Oona badly aims the camera at both of them. Annie kissing her properly in another, nothing but dark hair and tangled limbs and the edge of Oonaās stupid grin. Annie caught unaware. Annie deliberately posing. Annie looking straight into the lens with that soft, private expression that had never really been for the camera at all. Itād been for Oona. Every one of them seventeen or eighteen, sunburned and messy and permanently frozen inside the year Oona got her and lost her. But this isnāt a photograph. This is twenty-two-year-old Annie. Flesh and bone. Here. Now.
Oonaās first coherent thought is that this is deeply fucking unfair.
The Annie Oona knew existed almost entirely in cutoffs and old T-shirts. Messy dark hair. Bare face. Scraped knees. Cheap flip-flops. Oonaās sweatshirts dragged down over her hands on cold mornings. Sheād watched Annie rotate through the same three pairs of shorts until one of them practically surrendered at the seams. The fanciest dress Annie brought to Sterling Point became a regular island rag within weeks because Sterling Point had a talent for stripping people of whatever theyād arrived with.
Oona knew Annie was rich. Undebiably so. Annieās life in New York had leaked through in stories. Upper East Side apartments. Private schools. Holidays Oona initially assumed had been exaggerated until she realized Annie didnāt know they sounded fictional. Restaurants mentioned without thinking. Hotels named casually, then Googled later by Oona out of curiosity and discovered to cost more per night than she sometimes made in a month.
But on Sterling Point, Annieās wealth had been theoretical. The island had taken Annie out of context. Money didnāt mean much when your hair was wet, your thighs were covered in mosquito bites and the only shop within walking distance sold the same sun-faded shirts to everyone. Oona had fallen in love with a girl who swore at splinters, slept with damp hair, stole her ratty clothes and once wore the same faded floral T-shirt for a week because Oona had slept in it first and Annie swore it captured her smell.
That Annie had been breathtakingly simplistic. The version of Annie she knew felt private. Not because no one else saw it. They did. Oona wasnāt blind and the rest of the island wasnāt either. But Annieās beauty had seemed incidental to Annie herself. Unarranged. Something that happened while she was busy doing other things. Sheād walk around with her hair in a knot sheād forgotten to fix, sunscreen smeared badly over one cheek, somebody elseās hoodie hanging off one shoulder. And still people stared. Oona knew that girl enough to recognize her footsteps outside a locked room.
The woman standing in front of her now is the same person and somehow an entirely different visual event.
The face remains. Same enormous eyes. Same ridiculous brows Oona used to trace with one finger when Annie was asleep. Same full mouth, although someone has since introduced it to the sort of lipstick designed to look as though thereās no lipstick involved. Oona can still locate seventeen in the architecture. She knows exactly where that girl she used to know hides. But everything surrounding her has changed.
Her hair falls past her shoulders in polished dark waves, glossy enough that Oona can tell professionals have been involved. Her makeup is controlled to the point of looking almost nonexistent, which Oona has learned from wealthy marina clients usually means it costs more. Cream trousers skim legs Oona remembers almost exclusively bare. A pale blue silk blouse sits perfectly against her body. A beautifully cut jacket rests over one arm as if Annie has arrived from a meeting at a high-rise instead of an airplane.
The bag is HermĆØs. Oona knows that against her will. Years of rich people abandoning absurdly expensive possessions in boats have given her an involuntary education. She doesnāt know the model. She does know one of the women from the east shore once screamed for twenty minutes because lake water got on something remarkably similar.
Then Oona reaches the shoes. She has no idea what they are. She knows only that they look hostile to docks and probably cost more than her boatās engine.
But it isnāt really the display of wealth that unsettles her. That would be low hanging fruit. Itās the coherence of Annie now. The way all the disparate things Oona once knew about her have finally assembled in one place. The ambition. The goals. The education. The city. The impossible standards. The confidence Annie always possessed but used to wear with all the subtlety of a teenager has settled into something adult now. She stands differently. Holds herself differently. She doesnāt seem to be asking the room what it thinks of her anymore. Annie already knows.
Oona had known Annie before the world taught her how to present the facts of herself. Sheād known her before adulthood gave all that raw confidence tailoring. And fuck, has it tailored her.
Younger Annie had been gorgeous enough to ruin Oonaās judgment for the better part of a year. This version is worse because Oona can see the girl she loved underneath the woman sheās never gotten to know. Familiarity and novelty occupying the same body. Every old instinct in Oona recognizes her while every other part is being forced to meet her for the first time.
And sure, Annie objectively got hotter too. But that thought is also far too outlandish for whatās actually happening. Oona always knew Annie was stunning. What she hadnāt known was what Annie would look like once her real life caught up with her.
On Sterling Point, Annieās wealth and ambition had been trivia. Abstract facts Oona could ignore while Annie sat cross-legged on the dock eating cereal out of a mug. Now those facts have become visible. Theyāve acquired posture. Silk. Professional hair. Four-thousand-dollar skin care routines.
Annie has come back looking like the physical embodiment of every reason Oona once convinced herself she had to let her go. Thatās the part that reaches in and twists.
Four years ago, Oona had been able to imagine this woman only in fragments. Annie in cities. Annie in rooms where everyone had degrees and surnames that opened doors. Annie becoming important in ways Oona had never known how to picture because her own life had barely extended beyond a boat that leaked when it rained too hard.
Oona had looked at Annieās future and seen something vast. Then sheād looked at herself and seen nothng but things that might make Annie smaller. So she let her leave. Now the future Oona saw so plainly has walked into the marina wearing Annieās face. And it fits her perfectly.
Oona realizes sheās staring. Worse than that, Annie has caught her staring.
A minuscule flicker of uncertainty crosses Annieās face, so brief Oona could almost persuade herself she imagined it. Then itās gone, replaced by a polished composure Oona doesnāt remember. Annie has apparently learned, among the thousand other things she learned while Oona wasnāt there, how not to let people read the thoughts that cross her mind.
Oonaās heart is trying to beat itself through her sternum. So she does what she always does when terrified. She smiles. And she talks.
āAnnie, baby.ā
It was a poor choice of words. But it was also muscle memory masquerading as confidence.
Annieās face contorts. Only for a moment. Enough for Oona to see her falter. For Oona to sees seventeen again underneath all that polish. And because Oona is a fundamentally selfish person in several highly specific ways, the sight of it makes her feel almost euphoric.
āHi.ā
All this time. And thatās all Annie gives her.
Oona leans her hip against the counter before her knees can betray her. She lets her gaze travel over Annie once more because apparently self-preservation has packed up and left the building.
Annie glances down at herself then back at Oona. Her eyes take their own slow trip over Oonaās body.
āAnd youāre veryā¦blue collar.ā
āSome of us work for a living.ā Oona smiles wider.
āDoes that prevent you from knowing how buttons work?ā
Oona looks down. Her shirtās buttoned wrong. One side sits higher than the other, apparently the result of getting dressed at five-thirty this morning without consulting a mirror.
Annieās mouth twitches but resists curving into a full smile. Oona refuses to be embarrassed on principle.
āOnly every other day.ā
Oona starts undoing the shirt. There are perhaps eight more appropriate ways to fix a misbuttoned work shirt in front of a client who just happens to be your former hookup. Oona chooses none of them. She unfastens the buttons without a shred of modesty, letting the monogrammed shirt fall open while she fixes it. Annie gets an unobstructed view of what years of hauling lines, lifting engines and generally refusing to sit still have done to Oonaās body. Her stomach is cut hard, abs sharply defined, a deep V disappearing beneath the waistband of her shorts. Sheād always been lean. This is different. This is Oona being strong. Ripped with intent. Annieās eyes betray her and drop before she can stop them. Oona catches her looking. So she leaves the shirt hanging open for one entirely unnecessary second longer.
āSoā¦ā She taps the counter. āWhat can I help you with?ā
Annie looks around as it the answer to the question was entirely obvious.
āRenting a boat.ā
Oona makes a sympathetic face that isnāt entirely fake. āAh. Bad news, babyā¦Weāre completely out.ā
āNothing?ā
āNot one.ā
āFuck.ā
āPeak season. First come, first serve. And after breakfast it turns into blood sport.ā
Annie looks through the window toward the slips as if another boat might materialize through good fortune alone.
āNothing?ā¦I remember sometimes ānothingā was a gray area.ā
āIt is quite black and white today. Unless you fancy a kayak and a very character-building experience with your luggage.ā Oona smiles. āWe started doing on-demand launch runs a couple years ago thoā¦Gets messy when weāre slammed, but we can get you back and forth. You just might not get to dictate the exact minute. And they stop at ten.ā
Annie studies her.
āAre you the one driving people?ā
āSometimes.ā
Annieās eyes stay on her for another beat. Oona grabs a clipboard before she can become interested in what those brown eyes are doing.
āFill that out. Name, number, destination.ā
Annie takes the form and scans it. Then looks up.
āYou donāt remember where I live?ā
The question is light. The wound underneath isnāt. Oona feels it. She keeps her face blank.
āWe ask everyone.ā
Annie continues looking at her. Oona pushes the clipboard slightly closer.
āInsurance loves paperwork.ā
Annie lowers her eyes and begins writing. Oona watches despite herself.
ANNIE JACOBSON.
Seeing the name sheās thought about for so long in Annieās handwriting does something stupid to her. Then comes the phone number. Oonaās eyes fixate on it. Digits sheās not privy to anymore. Not since she deleted Annieās contact. That lands harder than it has any right to. Annie writes the cabin address next. The same address Oona could reach blindfolded. The same dock sheās deliberately avoided looking at for almost half a decade.
Annie hands the form back.
āFor that zone, itās thirty each way. Cash or card?ā
Annie stares at her. Not because of the price. Because Oona has apparently committed fully to pretending theyāve never met. Oona can see the irritation building. Sheās okay with that. Irritation is manageable. The alternative isnāt.
āCard,ā Annie says eventually.
Annie reaches into her bag. The wallet that emerges looks as expensive as the bag itself.
Oona takes the card. Metal. She shouldnāt have expected anything else. She runs it.
āThirty even.ā
Annie laughs. Actually laughs. Itās the only thing she can think of doing under this most absurd circumstance.
Oonaās brain responds with offending enthusiasm. That sound hasnāt changed. Everything else can apparently graduate, move across a continent, acquire expensive makeup and come back wearing an entirely different life, but Annieās laugh is still Annieās laugh. Oona hates the relief of it.
āI can get Ellis to take you in a few minutes. Heās the son of the owner. He can answer any questions you might have about the island.ā
Annie is impressed by how set Oona is on the absolute professionalism bit.
āYeah, I have plenty of those.ā
Oona picks up the radio.
āEllis. You copy?ā
Static cracks through the speaker.
āGo ahead.ā
āOne passenger to the Campbell cabin. Pickup Slip Three.ā
Oona presses the transmit button harder than necessary. āDo you copy the pickup?ā
A longer pause.
āJesus. Yes, I copy. Slip Three.ā
Oona sets the radio down. Annie is openly smiling now.
āVery professional.ā
The printer chooses that exact moment to resurrect itself with a violent mechanical wail. Both women jump. Six copies of the same invoice begin vomiting into the tray.
āYou vindictive little bastard.ā Oona grumbles at it.
āSeems you fixed it.ā Annie offers with a smirk.
Oona turns slowly toward the machine. Annie laughs. Oona wants to crawl into the printer and die. Instead she pulls the receipt free, tears off Annieās copy and extends it across the counter.
āSlip Three. Ellis will be there in a couple minutes.ā
Annie reaches for it. Their fingers touch. Barely. Skin against skin for less than a second. Yet Oonaās entire nervous system reacts as though someone has thrown a live wire into her chest. Annie pulls her hand back first. She felt it too.
For one dangerous beat, the proficiency charade cracks straight down the middle. Oona makes sure to quickly mend it.
āAnything else I can help you with, Miss Jacobson?ā
The sentence comes out in the bright, polished tone she uses on tourists. Annie stares at her for a long silent beat.
āNo.ā
Oona nods as though this is a satisfactory customer-service interaction. āSlip Threeās straight out andā¦ā
āI know where it is.ā Annieās reply is sharper than it needs to be.
Annie picks up the handle of her carry-on and settles her bag against her arm then turns toward the door.
Oona has survived the most challenging six minutes of her short life. She should be relieved. Move on. Go about her day. Never think about Annie again. Instead panic begins climbing her throat.
āAnnie.ā
Annieās body grinds to a halt. Turns. Oona has absolutely nothing prepared. So she says the first thing that comes to her mind.
āYouā¦Uhmā¦Youāreā¦ā Annie waits. āYou can probably just call Ellis if you need a ride. Or text himā¦If you still have his numberā¦Whateverā¦Heāll sort you.ā
Annieās expression is impossible to read. Then she gives Oona the same courteous smile Oona has been weaponizing against her for the last several minutes.
āThank you.ā
Annie shakes her head and turns away. The door closes behind her. Oona remains exactly where she is.
Ten seconds pass. Then twenty. The printer spits out another invoice for absolutely no reason. Oona glares at it.
āFuck off, you piece of shit.ā
Oona abandons the counter and walks to the window. She watches Ellis take Annieās sleek metal carry-on from her. It looks so absurdly out of place against the battered dock. Annie reaches into her bag and pulls out oversized sunglasses. Expensive, presumably. Everything about her suddenly seems expensive.
Oona watches the wind catch Annieās hair. Watches her look out over the water. Watches the rigid set of her shoulders loosen by degrees. Then Annie glances back toward the rental office. Toward Oona.
Something inside Oona twists painfully. Sheād been right. Thatās the fucking problem. Oona had been right.
Four years ago, sheād looked at an eighteen-year-old girl with greatness practically vibrating beneath her skin and believed, with the stupid certainty of someone who loved Annie too much and herself not nearly enough, that Annieās life was going to become enormous. There would be cities. Important rooms. People who knew things Oona didnāt. Clothes Oona couldnāt pronounce. Jobs that required security badges and dinners with six forks. A world that would take one look at Annie Jacobson and know exactly what to do with her.
Oona had looked at herself beside all of that and seen the mismatch. So sheād let Annie go. And now Annie has come back looking like proof. Every fear Oona ever dressed up as selflessness is standing on the dock, looking so perfectly at home inside the life Oona imagined for her that itās almost unbearable.
But Annie looking wildly out of place somewhere that used to be her entire world isnāt the worst part. The worst part is that Oona still wants her.
Not abstractly. Not nostalgically. Not in the soft, safely historical way people are apparently supposed to want their first loves after enough time has passed. Oona wants this Annie. This polished, intimidating, absurdly pricey adult version sheās never met before, with the same eyes and the same mouth and four whole years of herself Oona knows absolutely nothing about. The wanting arrives with such immediate physical certainty that it feels virtually adolescent. Itās humiliating.
Oonaās phone buzzes against the counter. She ignores it. It buzzes again, and eventually she drags herself away from the window.
TAMSIN: What are you feeling for dinner tonight?
Oona stares at the screen. For the first time since Annie walked through the door, guilt enters the room. She hasnāt done anything wrong. Looked too long, perhaps. Thought several things a woman in a committed relationship should probably not be thinking while her girlfriend is at home planning her next meal. But objectively, Oona has done nothing. If anything, sheās gone absurdly out of her way to treat Annie like any other customer. She should probably be commended for it.
She types that sheās fine with whatever and sends it. Then, despite herself, Oona looks through the window again.
The boat is gone. Oona tells herself the feeling that follows is relief. It feels suspiciously like sadness.
Also it's my birthday next Wednesday. Be good children and start thinking about what y'all are gonna get the devoted father who works soooo hard to house you in this ranch, clothe you, keep you fed and intellectually engaged.
Cash preferred. Whiskey acceptable. Boobs areā¦fine I guess :)
I'm sitting at a restaurant waiting for a friend for a late night dinner and I'm deadass trying to be productive and do work on my phone but I can't stop thinking about Oona seeing non-teen, non-island, non perpetually in jean shorts and raggedy tees with messy hair Annie that first time when she gets to the marina four years later. They dated for a whole year yet this remote island was their entire universe. Sheās never seen Rich Bitch Annie. City Girl Annie. Salon blow out and 3k shoes 5k jacket and 10k purse Annie. Andā¦thats who gets off the plane/walks into the marina straight off the plane and also who is at the bar that night.
Imagine you date this basic ass girl for a year and in theory you KNEWWWWW she existed on some other veryyyyy different tax bracket but you never got to experience it in any tangible way. All you knew was this Annie:
And then four years later OUT OF NOWHERE you get THIS walking through the front door of your job with zero fucking warning:
Imagine falling in love with the 4/10 version of a girl and learning years later sheās actually an effortless 13/10 in her real life. I'd go into cardiac arrest.
Ok we need the full 200k you canāt leave us hanging like that
Dude it's so much work. I don't have the time. It took me HOURS to clean up those 13k from the mess I initially wrote it in and it's still shitty. Ask me questions if you want. I'll answer anything but I don't think I'll do a lot of full chapters like that. I have real work shit I should be writing. I only did this because I'm procrastinating that. I don't need more excuses to lol
I hate Yelena and Ava together š«£ (beautifully written and the angst is perfect, but go get your wife)
You know whatā¦yeah YOU go get your wife out of rehab Yelena. Thatās definitely your job. Tell me how it goes. I'll take notes and share it with y'all lol.
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Maks has a second play. They got to a speaking role. Its two lines, but its a role. Yelena has the tickets secured. She and Alexei will be there with Alex. Melina is keeping the baby.
Alexei is very excited. He barley fits in the seat, but he's looming over Yelena and giving shade from a spotlight she desperately needs.
She's checking work emails. She has fifteen tests running and the devices are set to ping her phone as soon as they're done with the results. This is important. This is so so important.
But so is her son's play. She watches the first act. He stood in a corner. He's caked in stage makeup and his costume doesn't fit his gangly body. Bishop genes are kicking in little by little and this is going to be an annoyingly tall kid.
"Everyone is annoying tall when you're barely 5'4, babe." Ava said over breakfast. Yelena didn't dignify that with a response.
She didn't have one.
Act 2 passes - no results yet. Alex needed to use the bathroom and waited so patiently for intermission. Yelena gets her taken care of while Alexei gets them drinks. Maks is back stage vibrating because his scene is up next.
How a theater kid is born out of a scientist and a finance bro is a mystery she can't solve. That would imply she understood sociology and such.
The curtains open, the music starts. The kids do a small number that Yelena smiles at. Her boy is not bad at this. Her smile falters. Kate would be recording and tearing up right now. She'd be preparing the fanciest chicken tender meal for her little man.
Yelena takes pictures to show her on the next visit. She hopes it wont be for petty reasons. She knows it might be.
The narrator introduces her boys scene. The phone vibrates. The tests are done.
Yelena knows she shouldn't. Shes in the middle of her boys play. The play she had to convince him to do because he was scared. The last one led to mommy and mama sleeping in separate rooms. The last one led to mommy almost dying.
These are false, Yelena knows that, but this is a kid and kids have limited ability to understand what's going on in the greater world and so they draw connections with what they have and so Mak drew that theater = dead mom.
Kid would make a great Batman.
Yelena misses the scene entirely. And the rest of the play. She's too engrossed in what her centrifuge has to say. She looks up and sees the sad eyes of her son.
He wanted her to see. And she couldn't put work down. Again.
The ride home is silent. Alexei not speaking is the only concrete way of knowing he's mad at Yelena. The kids are in the back. McDonald's sits between them untouched. Happy Meals are out of place in this car.
Alexei doesn't yell at her when the kids go to sleep. He doesn't say anything for a long time. Melina knows there's tension in the room, but she decides to finish putting the baby to bed after Yelena had a chance to see and kiss them.
She loves them all. She knows they know that.
"I'd say I'm disappointed in you, but that would imply I'm surprised." Alexei says quietly.
She wishes he just back handed her like she was an unruly teenager.
"I know science is important to you. It is important to Melina. The children, however, they should be more important."
"They are-" he raises a hand to shut her up. The tears are huge in her eyes, but shes keeping them in. The shakes are trying to start, but shes not letting them.
"I know its only two lines. I know theater is dumb to many. I also know that boy hasn't smiled like that in a long time. He deserved to have a parent see him perform. That is all." Alexei kisses her head, gathers Melina, and they walk out the door with assurance he will be by to help watch the kids tomorrow after school.
Yelena doesn't let the kids see her cry. She goes to text Ava, but is too ashamed of it. A teacher of all people isn't gonna take pity on this.
She shakes the whole night.
Can I send you my therapy bill??? What the fuck was that????????????
Also, lolā¦hand on heart SWEAR TO GOD this was my verbatim thought process while I was reading this: āWhy is Kate not there? OOOOOOOOH is that bitch STILL in rehab??? lmaoooo hashtag free my girl. Someone should get on getting her out.ā And then I realized the āsomeoneā is me. I have to get her outš®āšØš®āšØš®āšØ