ONE / MANY

Haymitch nods his head. He gives Finnick's shoulder a gentle pat. "Well, you're safe, or whatever it is people say when you wake up from a nightmare," he tells him. "It's not real. And even if it was, it's over. So nothing to worry about, hm?"

dialogue prompts from so far gone by jess walter.

i'm not selling anything. i'm your ______.

i am not a recluse.

i did not cut off contact. it was complicated.

you still have a way with words.

let's just try to be a normal family.

kids don't drink coffee, right?

can you take care of _____ for a while?

i feel like the whole world is a shirt i've outgrown.

you really do have a way of describing things.

who knew quiet has its own sound?

i like to read whole series. if there's just one book, it makes me sad when it's over.

we live only as long as someone remembers us. only as long as someone cares.

why did you drop out?

i felt like the world was drifting in one direction, and i was going the other way.

i don't know a single number by memory anymore.

i'm trying this new 'honesty' approach.

maybe you should mind your own damn business.

you don't get to take back what you said. you were on the record.

how do you know when it's really love?

if it's the real thing, you start to want your happiness more than their own.

alcohol makes people do funny things. loneliness does, too.

i can't small talk like this.

technically, i think once you've fucked everything up, the only way you can fix it is to fuck everything down.

we're on the border of bizarroland, out here.

it seemed like a good place to disappear.

i genuinely thought no one would miss me.

i always pictured you different.

filing a police report is about as helpful as tossing a coin into a fountain.

be more like me: such a bad parent, your kids don't bother you with their bullshit.

we can do this. i'm with you.

it takes more than a bullet to slow me down.

i'm no hero. we just did what had to be done.

can i ask what you're thinking right now?

i'm sorry. i'm out of practice talking to people.

have you thought about coming back?

good plan. be a dick to the one person willing to help you.

it's not a lie if no one asks.

i had this insane idea that i was rescuing you. that you needed saving.

i am not disappointed in you. i'm sorry i gave you that impression.

if i change my mind, you'll be my first call.

how do you think that would make a mother feel?

all cruelty springs from weakness. seneca said that. along with 'ignorance is the cause of fear.'

i'm not helping you with this, but i'm not stopping you, either.

i've made it this far in life without killing anyone. be a shame to start now.

you might be the best _____ i've ever seen.

i don't know if i believe in god.

i heard you crying. i didn't know if i should say anything.

i can't be your little buddy anymore.

you did your best.

“  i’m happy when you’re around.  ”

“  i like having you here.  ”

“  i’m glad you came.  ”

“  just tell me what you need.  let me give it to you?  ”

“  why are you smiling at me like that?  ”

“  i trust you with parts of myself i’m afraid to show anyone else.  ”

“  you have a good heart.  ”

“  your eyes look so beautiful in this lighting.  ”

“  i’m all yours.  not going anywhere.  ”

“  you have my full attention.  ”  

“  i never want you to stop looking at me the way you are right now.  ”

“  follow me,  i have a surprise for you.  ”

“  you make me feel brave.  ”

“  come walk with me.  let’s get some air.  ”

“  c’mere.  sit down.  tell me what’s going on.  ”

“  i want you around.  if i didn’t,  i wouldn’t be here would i?  ”

“  it’s okay,  you can sit here with me for as long as you’d like.  ”  

“  here,  take my hand.  ”

“  stay still—  i’m trying to hug you.  ”

“  do you like my new dress?  ”

“  do you like my new suit?  ”

“  could you hug me again?  i think i need it.  ”

“  i like hearing your heart beating when i put my head on your chest.  ”  

“  i like watching you work.  ”  

“  just sit there.  i’m going to make you something to eat.  ” 

“  why don’t you tell me what i can do to make your day better?  ”

“  what’s on your mind?  i want to listen.  ”

“  i sure you hope you don’t think you’re walking out that door without giving me a kiss first.  ”

“  i know i need to go but—  one more kiss.  ”

“  here,  take my jacket.  you look like you need it more.  ”

“  keep the jacket,  looks better on you.  ”

“  you just make me feel good when you’re here.  i feel better any time you’re around.  ”

“  i don’t feel whole unless i’m touching you.  ”

[ GRIN ]  for one muse to reach out and playfully push the other’s cheeks up to make their lips curve into smile. 

[ PRESS ]  for one muse to poke either side of the other’s cheeks where smile dimples would be. 

[ BOOP ]  for one muse to playfully tap the other’s nose with their finger. 

[ LIGHT ]  for one muse to kiss the other’s cheek. 

[ WARM ]  for one muse to take off their jacket and drape it around the other who is cold. 

[ COMFORT ] for one muse to place a jacket or blanket around the other’s shoulders because they’re upset. 

[ TEASE ]  for one muse to squish the other’s face between their hands. 

[ SCOLD ]  for one muse to gently pinch the other’s cheek in response to something they said. 

[ REST ] for one muse to rest their head against the other’s shoulder while they talk. 

[ REASSURE ]  for one muse to place their hand on the other’s back as a subtle comforting gesture. 

[ SAFE ]  for one muse to wrap their arm around the other’s shoulders and kiss their temple. 

[ LEAP ] for one muse to run and jump into the other’s arms because they’re excited to see them. 

[ SEEK ] for one muse to track down the other at a crowded function because they noticed they slipped away. 

[ COMPANY ] for muses to sit on a balcony or roof together sharing a drink/food/joint etc. 

[ HELD ]  for one muse to offer their hand out to the other to hold to comfort them.

[ REACH ] for one muse to reach out and take the other’s hand to comfort them.  

[ LACE ]  for one muse to hook their arm around the other’s while they walk. 

[ INTERTWINE ]  for one muse to offer their arm to the other while they walk. 

[ DIRECT ] for one muse to pull the other into that kind of hug where their hand rests against their head and they tuck them under their chin. 

[ SLEEP ]  one muse discovers the other napping and simply joins them. 

[ EQUAL ]  for a taller muse to pick up the other and place them sitting on a counter/table so they can be eye level. 

okay so i got like, three books delivered this week, and in anticipation i reread another book that i had, and lads, let me tell ye, it was like quicksand. so now i have a list, some from my head, many from my wonderful friends’ heads, of prompts that basically made us all very soft or very “pleasantly scandalized rich lady from the sixties who just found out a juicy bit of goss about the new neighbor”. i hope ye like them! (DO NOT ADD TO THE LIST. I WILL MAKE A PART TWO. AND THREE. AND FOUR. MANY MANY PARTS. EVENTUALLY. )

[ HAIR ]:          sender slowly reaches out to catch a loose strand of the receiver’s hair and tuck it gently and securely back behind their ear, letting their touch linger afterwards. (if the receiver has short hair, then the sender reaches out and gently runs their fingers through their hair to smooth it back.)

[ CLOSE ]:          while standing remarkably close to one another, the sender is unable to stop themselves from running their gaze across the receiver’s body, lingering for a moment on their lips, before returning to initiate prolonged, intense eye contact.

[ CHIN ]:          as they stand close to one another, the sender hooks a finger and tenderly lifts the receiver’s chin, tilting it up so that they can look at one another, and running a thumb across their skin lightly.

[ THUMB ]:          while cupping the receiver’s cheek in their hand, the sender slowly glides their thumb across their cheekbone in a tender, sweeping caress.

[ WOUND ]:          upon noticing a recent injury on the receiver’s person, the sender carefully moves closer, running a thumb (or hand) across the wound in a gentle, troubled manner.

[ INHALE ]:          while standing in very close quarters to the receiver, the sender shakily inhales with desire/anticipation as they realize how intimately close they are to one another.

[ DANCE ]:          when alone together (e.g. the bedroom, the kitchen, literally anywhere once they’re alone) the sender takes the receiver’s hand, and pulls them into a graceful yet intimate dance as a spontaneous act.

[ BARE ]:          as they get undressed, the sender gently places a soft, tender kiss against the receiver’s bare shoulder.

[ SCAR ]:          noticing a scar on the receiver’s skin, the sender tentatively stops them from covering it up, and rests a gentle, soft kiss over it.

[ FOREHEAD ]:          placing a hand on the back of the receiver’s neck, the sender guides them close and rests their foreheads together.

[ PALM ]:          taking the receiver’s hand, the sender brings it to their mouth, and places a tender kiss against the receiver’s palm.

[ LINGER ]:          taking the receiver’s hand, the sender lifts it to their lips, and gently kisses their knuckles, lingering for a moment before withdrawing.

[ BEHIND ]:         upon entering the same room as the receiver, the sender steps behind them, and winds their arms around the receiver’s waist, drawing them close against them.

[ WAIT ]:          realizing the receiver is about to leave the room, the sender hastily reaches out and catches their wrist, preventing them from continuing their departure.

[ ARM ]:          after holding their hand, the sender releases the receiver, but slowly glides their hand up the full length of their arm, lingering on the upper arm, then the shoulder, then resting their touch against the side of their neck.

[ HOLD ]:          while close to the receiver, the sender wordlessly takes a hold of their hand, for no other purpose than to be holding it.

[ PLAY ]:          while sitting together, the sender absently lifts the receiver’s hand, idly running their fingertips across the lines of their palms, mapping out every inch of their hand with slow, lazy touches.

[ GUIDE ]:          in the process of guiding the receiver through a crowded place, the sender’s hand protectively grazes against the small of their back

[ TOUCH ]:          while touching the receiver’s waist, the sender’s hand briefly dips beneath the hem of their shirt, skimming briefly across the bare skin of their waist.

[ CUP ]:           bringing both hands up to cup the receiver’s face, the sender draws them in closer to them in order to get a better look at their face.

[ TUG ]:          the sender tugs the receiver close against them by resting a hand against the small of their back, pulling them flush against their body.

[ HUSH ]:          while standing close to one another and hiding from pursuers, the sender reaches up and places a finger against the receiver’s lips to prevent them from speaking and revealing their location.

He thinks for one hazy moment he's looking at his brother.

He hasn't thought that in a long time, hasn't seen ghosts in other people in a while, but seeing Finnick standing in the doorway looking at him like he's had a nightmare-- fuck, it feels like he's a teen again for just a moment.

Then Finnick talks, and he's snapped back to reality. Oh yeah, his brother's dead. This is an entirely different person, but one that still needs a big brother.

but finnick's not in a position to back off now. he sits, right around haymitch's knee, his feet flat on the floor. he thinks maybe he wants -- no, it's okay. he can't do what he wants right now. he and haymitch are close but not...not that close. ❛ nightmares, ❜ perhaps there should be more shame to it, but finnick's voice just comes out ragged and tired.

a trade means he needs to have something, ilya realises. he reaches behind him and picks up shane's coffee with hands that feel a little bit clumsy. then they're faced with the problem of shane having no way to take the coffee. so ilya bends down and opens his mouth, lets shane press the pills past his lips. then it's easier. ilya takes the water, hands shane the coffee. swallows the stupid little pills down with water and feels like crying. he doesn't - he doesn't think he could, really.

he can hear his alarm going off too, from upstairs. shane should've brought his phone with him, but— it is what it is. shane kind of can't leave the breakfast he's making right now; he's not stupid enough to think that he can fix ilya's day with some breakfast and coffee in bed, but he wants ... he was so clueless about it for so long that he just wants to do something. they don't have a lot of days off like this, anyway. shane gathers everything up and makes his way upstairs.

"yeah, well," shane says, and leaves it at that as they reach the car and he tosses both bags in the back of it. he loves ilya so much, but it's been shane's experience that he basically has to steamroller ilya into letting himself get taken care of.

ilya's saying something to wyatt when shane zones back in on him, and shane officially decides that he doesn't want to know whatever it is, and that if it's a jailbreak plea, wyat'll be smart and not try it.

he gets to his feet and bites back a groan, and then says, "i fucking love you all so much. go get drunk, on me," which results in more than a few cheers, and a groan from wiebe's direction that ilya is resolutely ignoring. he can do this, at least, trailing after shane in the uggs he can't bear to get rid of and a centaurs hoodie.