âYou know I do love a good gun-battle in the morning.â
trying on a metaphor

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   âYou know I do love a good gun-battle in the morning.â

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   A frustrated huff of breath, dark curls blown aside.  âWell. I can say for certain that this is hardly how I planned my day.â
   âSounds like a personal problem.â
   Maybe you should explain to her WHY she should make it hers.
   Maybe you shouldnât.
   Either way, sheâs going to keep drinking.
( @harvestshopeâ. )
   The vault of the midnight sky is wild, rampant with stars; the sea all around is nearly placid enough to reflect every single point of light --- every sparkling, impossible port of call beyond the boundaries of this heavy Earth.Â
   Beneath Advaâs bare feet, she imagines the cool, damp deck of her ship to throb with the precious, slumbering lives sheltered within it. When she sees the shadow, crossing between her and one of the watch lanterns swaying in the night breeze, she almost falters.
   Powerful she may be. But there are certain forces even she must bow to. Willingly, or no.
   The throb grows more insistent. More desperate. Like a heart which senses an ending, but resists it.
   Her address to the visitor is low, so as not to attract the attention of the boy on watch. Her diction precise. Her eyes are as dark as the hollow of the hood she gazes up into.  â ------ Do you come for one of my crew, now, ×Ö¸ÖŤ×֜ת?â
fighting sentences .
â you have to get out of here â now! â
â leave it to me, i got this ! â
â you canât do this on your own! â
â stay behind me! â
â we have to keep pushing on! â
â itâs too late to turn back now. â
â where are we supposed to hit!? â
â itâs too strong! â
â i canât do this alone! â
â iâm going to lure it away, attack when you have a chance! â
â we canât give up now. â
â fucking help me! â
â are you going to cry or fight!? â
â youâre so weak. â
â is this all you can do!? â
â i see youâve come out to play ~ â
â come out, come out ~ wherever you are! â
â itâs just you and me now. â
â youâre coughing blood! â
â you have to stop â at this rate youâll â â
â iâm not gonna die! i canât die. not now. â
â i was made to do this. â
â my weaponry is down! i canât do anything! â
â i ⌠i need help â â
â take my hand! â
â out of ammo! i need backup ! â
â we canât just go in blind! â
â this is how i lead. â
â if you canât walk the distance, then get the fuck out of here. â
â we are required to do sacrifices. itâs what we do. â
â you wonât be the same when you come home. â
â people are dying out there â and you are planning to do nothing? â
â i canât fight alongside you. not when youâre like this. â
â you are going too far. â
â iâll give it my best. â
â iâll distract them. run â run and donât look back. â
â trust me, ( name ). â
â why canât you just stay down!? â
â learn your fucking place! â
â we need a leader, ( name )! â
â nobody WANTS to die, ( name ). but what choice do we have!? â
â if you canât do it â then iâll do it. â
â leave it to me. â
â donât follow me! â
â war changed me. â
â if i donât make it back⌠â
â ⌠you have to make it back. you just have to. â

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which brings us back to the heroâs shoulders and the gentleness that comes, not from the absence of violence, but despite the abundance of it. ( x )
MOCKINGJAY PART 2 ( 2015 ) Â sentence starters
â give me one reason why i shouldnât kill you. Â â
â did you have a nightmare? i have nightmares too. â
â donât trust them. do what you came to do. â
â are you still trying to protect me? â
â our lives were never ours. â
â theyâre afraid of you. â
â anybody can kill anybody. you just have to be willing to sacrifice yourself. â
â itâs war. sometimes killing isnât personal.â
â we keep each other alive. thatâs what we do. â
â iâll say this for you, you donât disappoint. â
â home. we go home. â
â nothing good is safe while ____âs alive. â
â one way or another this war is going to come to an end. â
â itâs not your job to ask questions. â
â iâve been watching you. and youâre watching me. â
â i guess there are no rules anymore about what a person can do to another person. â
â oh, that speech you gave. oh, man. i mean, i still have goose bumps.  â
â he needs to see my eyes when i kill him.  â
â weâre facing an enemy that will not change and will never surrender.  â
â and if it really came down to it, you think you could shoot him/her? â
â if your immediate answer isnât âyes,â then youâre dangerous. â
â they promised me that when the time came, you would help me.  â
â if it gets to that point, iâll kill you myself. Â â
â weâre gonna get through this. i promise. â
â everyone thatâs dead is dead because of me. i lied. â
â i never meant for this to happen. i failed. i⌠â
â she/he needed you to be there and take care of her/his family and you did.  â
â no, iâm not losing you again. â
â shoot me! â
â you really think i gave the order?  â
â iâm afraid weâve both been played for fools.  â
â all I know is that i was supposed to take care of your family. iâm sorry i couldnât. â
â it balances the need for revenge with the least loss of human life. â
â may your aim be as true as your heart is pure. â
â iâm sorry so much burden fell on you. i know youâll never escape it. â
â if I had to put you through it again for this outcome, i would. â
â you came home. â
â  weâve all suffered. but we owe it to their memories to do our best with these lives. â
â i hope you're finding some peace. â
â but there are much worse games to play.  â
âI was promised tea!â ( the muse you most want to use but haven't had a chance to yet pls! )
sentence prompts.
   âYes â â Doveenâs tone was wholly placid, as she smoothed a hand down the stretch of dark uniform at her trim midriff. Rows of polished silver buttons gleamed in the gaslight of the comfortable sitting room. âIt appears rampant terror and confusion has caused something of a lapse in decorum. We do apologise.â
   Her superiors would doubtless arrive momentarily, to implement a battery of questions. The only reason sheâd made it into the room was because this was her motherâs â and therefore her â estate.
   Crossing to a sideboard, the willowy officer depressed a button next to a mesh-covered voice port, and leaned into it.  âHavor â a service of tea to the Rose Room, if you would.â
   The servant in the kitchens several floors below answered immediately, and Doveen turned back to the roomâs only other occupant. She added to her earlier comment, as if nothing else had transpired:  â â A stranger emerging from the wasteland which has not been successfully traversed in recorded history has a certain⌠effect.â
Sheâs art, I love her every bone, but itâs all kind of foolish, I am almost done, tired,
Charles Bukowski, from a letter to Steven Richmond wr. c. June 1956 (via violentwavesofemotion)

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hittcr.
        the brewpub was bustling. which wasnât unusual given the time of day. eliot had noticed him the minute heâd stepped in. that was a soldier. on a mission. heâd seen that look plenty of times. he knew it well, mostly because he still wore it. most of the time anyway. eliot was on bar duty. he usually was because he could handle running the bar and the kitchen at the same time. and he preferred to be up front anyway. people liked to bring their problems to him, which meant he could get them clients.          even if they never paid for leverageâs services.          the broad shoulders, the chiseled jaw, the near accusatory words. eliot tossed the towel over his shoulder. fixing him with what eliot hoped was a neutral expression, he leaned forward a little. âyâknow, a person with a suspicious mind might think you mightâa been there tâ see it, if thatâs what said personâs thinkinâ.â he paused. âwhich means that you mustâve also been casinâ thâ joint.â eliot lifted his eyebrows just once before pushing back a little.        âiâm only gonna say it once, man. back off. we got this.â because it didnât matter who he was. most people, though, backed off when leverage got involved. something about them being the meanest crew this side of pacific. wasnât that how it went? âyou donât wanna get in our way.â just something about the way heâd said âyou peopleâ rubbed eliot all sorts of wrong.Â
   steve processed the threat with a steady gaze. ( you look down the barrels of enough guns, hear tough talk from enough men with violence on their minds... you get used to it. ) wasnât like he was expecting the groupâs muscle, of any of them, to cave quick. wouldnât be doing his job too damn well, if he did.
âthat so.â said it more like an acknowledgement, than a question. he adjusted his stance. squared up. leaned in, to mirror the other, shorter man, and raised his brows a little.  âwell then maybe we should take this conversation somewhere a little more private.â classic steven grant rogers. no give.  ââcause iâm not goinâ away.â
still. only being an immovable object ( while with its merits, some days ) might just get this bartender with the look of a warrior mad at him. which wasnât what he was looking for, at all. steve put his hands on the bar, palms flat to the varnished wood. his voice dropped even further, as he offered a question, now, instead of a challenge.
âyou know hydra?â figured there was a possibility this could go either way. might be news to them. might not. but itâd be useful to know which.  âkarbaroâs all tied up with them. deals. supplies. protection. thatâs why iâm here.â
( now, if heâd just walked in here with the shield, thatâd have cleared some things up really quick. but he absolutely never would have heard the end of it from natasha. )
When the day breaks I will be there to break it. When the new moon rises, Iâll rise with it.
Jackie Kay, from Darling: New & Selected Poems;Â âRace, Racist, Racism,â (via violentwavesofemotion)
Gal Gadot photographed by Elizabeth Weinberg for New York Times (2017)
âmen who play god will die like one. a myth barely remembered and their names but a whisper.â
â they will burn and burn and burn and then they will be nothing and the world will continue to turn // a.m (via ginnys)

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I have the exact same glasses. Wow! You two are practically twins. I wish. Specimen!