#munhoe

❂   goodnight sentence starters   ;   accepting

noah knows enough about mike to know that this isn’t good. perhaps mike thinks he’s subtle; perhaps he is -- perhaps noah is the only one who’s noticed that mike hates going out alone at NIGHT, doesn’t like it when noah stands near the WINDOW after dark, how quick he is to make a joke & change the subject around certain conversations. noah’s pretty sure that whatever’s in mike’s head must be BAD. 

         kavinsky’s LUCKY to be alive,   but he doesn’t seem to want to acknowledge that.     mike remembers it as a blinding rush of adrenaline,   the searing heat of fire all around him,   engulfing kavinsky’s home and attempting to do the same to kavinsky himself   –––––   before mike wrestled him out of the blaze,   carried him to safety,   just the same as he carries him now through the entryway of mike’s apartment.

         k,   though,   seems to recall it as the day mike RUINED something.

         at least,   that’s how mike suspects kavinsky views it.     he definitely isn’t happy about any of this,   if all the grouching is anything to go by.     not that mike can blame him.     he isn’t comfortable nor too happy with their situation either.     their entire relationship   (   if it can even be called that; they’ve never discussed it   )   was built on give and take,   a power dynamic now abruptly shifted off balance;   mike can’t ask k to hurt him,   drug him,   fuck him up when k is hurting and fucked up himself.

         (   mike almost lost yet ANOTHER lover,   but he’s avoiding dwelling on it pretty well so far.   )

         “   okay, buddy,   ”   he murmurs as soon as kavinsky’s settled onto mike’s bed,   forcing out a laugh when his voice comes out softer than intended.     no pity,   bad mike,   bad.     “   uh,   we should probably get those bandages changed,   huh ??     or do you want some water first ??     i can stick it in a shot glass if that sounds,   y’know,   easier.   ”

it’s not that kavinsky really wanted to DIE. he doesn’t think he did, at least. but in his opinion, dying would have been less MORTIFYING, than failing in the attempt, now having to rely on others for help --- worse than others, having to rely on MIKE.

they haven’t talked about it, though there have been plenty of opportunities, mike sitting in a chair by kavinsky’s hospital bed the whole time until he was discharged. he’s glad mike didn’t TRY to talk about it: dumping mike would be pretty exhausting.

send me NIGHTMARE! for a starter where my character suddenly wakes up from a bad dream.

it’s dark, and declan is hiding. trying to hide. he’s certain that his heartbeat is audible, even over the sound of the blows & his father’s grunts as he absorbs each one. it’s the worst thing declan’s ever had to listen to: his ever-charming, ever-amusing, ever-loved father reduced to nothing more than groans, whimpers, horrible GURGLES that declan will never be able to forget. eventually, these sounds quieten, and niall’s attacker stops attacking. his job is complete. then he’s rattling the lock of the trunk. declan’s seized by panic, unable to move. not that he’d be able to defend himself even if he could. the trunk OPENS -----

--- and declan WAKES. it’s still dark, and silent. he sits up, fumbling for the lamp: anything to reassure himself that the car trunk isn’t real, that it’s in the past. it’s a shock when the lamp illuminates another figure in the bed -- he can’t remember bringing anyone home -- until he realises it’s mike. the light & declan’s movements have woken him; he stirs, blinking sleepily at declan. 

everyone's gone to bed. she can tell because she can't hear them laughing at her anymore, and because no one has knocked on her door in at least half an hour. beth was the last one to try, only to get turned away for what might've been the first time in the twins’ lives. there’s only one person hannah would let in. but of course he hasn’t bothered. he’s too busy laughing at her, or making out with emily. probably both.

it’s not the sudden knock that startles her, it’s his voice coming from the other side. she practically runs to the door, listening to his words, the soft apologies he whispers. hannah lets her heart melt for a second, so that she will be strong once she opens the door. and when she does, he’s really there. "did emily send you here so you could both laugh at me some more?”

it’s almost laughable how out of place mike looks in jim’s scrapyard. technically, it’s the city’s scrapyard, but jim is the only one who ever seems to use it. the fact that he’s here right now --- TOWERING over jim with that slightly awkward air as jim kneels in the dirt fixing his motor --- means he’s been paying far more attention to jim than jim ever realised. jim thought no one noticed where he spent most of his evenings ( most of his days, too, when he ought to be in school ) ... but mike has. jim’s touched, but irritated: now that mike’s found him, he probably won’t go away. he’s PERSISTENT that way.