Made Your Mark on Me, RNMBB2024 written by @wilddragonflying & @queerpeasantchic with art by me.
Soulmates are tricky things, even when you've got their name written on your skin. The world, other people, even yourself - all of these things can get in the way of your happy ending.
Alex Manes could never read his mark when he was a teenager, when he fell in love with Michael Guerin - when that love was marred with his father's hate. Now, more than ten years later, Alex is ready to finally move on.
Too bad the universe has decided to play the world's worst joke on him.
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Unified theory of Indiana Jones and The Mummy? My interest has been piqued đż đ
Okay so I think it goes without saying that these movies clearly take place in the same universe, just off the bat.
That said, we also know that several of the (unseen) previous generation of characters had careers that would've taken them to similar geographic areas -- notably Howard Carnahan and Abner Ravenwood, who were Egyptologists of roughly a similar age.
So, it would make complete sense to me if, at some point, they were contracted to work on the same project. Whether or not they got along, whether or not they worked well together, is immaterial. The important part is that they both brought their daughters. Now, according to the wikis for the respective franchises, Evelyn (Carnahan) O'Connell was born in 1903, and Marion Ravenwood was born in 1909, and young girls, as Marion would've been, tend to heavily imprint on older girls especially when they're stuck together in a camping situation. And I think Evy, a perpetual baby sister, would've jumped at the chance to get to be the cool older sister type friend.
They would've corresponded after that.
In 1925, Marion writes to Evy about her father's dashing new student who she's fallen hopelessly in love with (and an equally passionate disavowal of the man only a few months later).
In 1926, Evy writes back to tell Marion that she's been part of an expedition to help recover the site of Hamunaptra (leaving out the magic, because that would be just a shade too far; adding the fact she may not have found much treasure but she did find a husband in the post script -- prompting many more questions from Marion).
They write each other about Evy's journey to respectability as an archaeologist and Egyptologist, and her impassioned arguments with another young archaeologist out of the University of Chicago, who Evy pointedly refused to name in any of her letters out of disrespect (the nature of their academic disagreements is simple -- Evy's seen magic with her own eyes and brings a layer of credulity to her interpretation of sites that Indy just cannot fathom. Well. Not yet, anyway).
They write when Alex was born, when Marion moves to Nepal.
In 1933, Evy writes her about the Oasis at Ahm Shere, but she leaves out the part where she died and was resurrected, and the part where the entire oasis was sucked into the afterlife afterwards.
(In 1935, Indy sees Magic in India, and he thinks briefly of his continuing journal publication feud with the British-Egyptian Egyptologist E. O'Connell, and then he locks this information away in a part of his brain he does not touch lest he go mad.)
In 1936, Marion writes her about the search for the Ark, about her father's old student -- a professor now himself -- coming back into her life. She mentions the pit of snakes, being entombed, and the deaths of the Nazi bastards. She doesn't mention the magic, the actual Ark of the Covenant saving their asses. It would sound crazy, after all.
In 1937, they see each other in person for the first time in over a decade by chance at the Cairo Museum. This is before the events of the Last Crusade, so for the moment, Marion and Indy are more-or-less together and more-or-less happy about it. Rick and Evy are there for their standard work reasons, delivering some recently excavated artefacts.
At first, everything goes fine. Evy and Marion recognise each other, and as nearly life-long penpals tend to do, take a moment to remember how to speak to each other in person, but then they're thrilled for the opportunity to do so. The four of them agree to get dinner together and it's at dinner while they're talking about their work that Indy makes the connection between E. O'Connell, academic rival, and Evelyn O'Connell, and Evy makes the connection that Marion's "Indy" is actually that very same Henry Jones Jr who Evy's wanted nothing more than to knock senseless with the Book of Life for over a decade.
In the ensuing loud argument that nearly gets them thrown from the restaurant and during which Rick and Marion decide they're best friends now, both Evy and Indy accidentally reveal their hands as regards magic, archaeology, and the realities therein. They part dinner as wary allies.
The academic detente lasts just until Marion writes Evy about the dissolution of her relationship with Indy and concurrent birth of their son, and then the rivalry's back on.
Frankly, all of them prefer it this way.
(As an additional aside, while he was serving in WWI, Jonathan Carnahan met and befriended {""befriended""} an Australian nurse, who had the mixed fortune to lose all of her father's titled cousins during the war and returned home as the Honourable Miss Phryne Fisher)
Consider: Billy and Steve getting together post-s2 and Billy kissing the tinny little scar at Steve's hairline from the plate he'd smashed over Steve's head; it starts out as an apology but it becomes his favorite place to kiss when he and Steve are cuddling or relaxing at home, a silent reminder that Billy's changed and that he got this second chance and he won't ever take it for granted and he'll never be like that again
consider: this is too cute not to make a full-blown fic. for context, we're working in a post-s3, Billy!survives verse because that is apparently my schtick. let's go.
you're vicious and romantic
(fic requests open)
He's seen it before, of course â that little white line, sharp and jagged, jutting from beneath Steve's hair. But somehow, morphine-fogged and heavy-lidded, Billy can't seem to stop finding it. He blinks away exhaustion, eyes watery and unfocused, to find Steve over him, his shadow blotting out the harsh glare of the florescent lights, hands busy rearranging the scratchy hospital-issue blankets over Billy. He catches Billy's eye, that little half-smile on his face, and he says, "Hey."
Billy tries to talk, but his tongue feels foreign in his mouth and his throat is too dry and he can't seem to get the words out. Steve notices, his features softening, and he says, "It's okay. You're okay." as he smooths back Billy's hair. Billy raises his hand, IV lines tugging at the crook of his arm, and Steve asks, "What's wrong?"
Steve leans closer, close enough for Billy to touch, and Billy grazes his thumb lightly over that scar. It sends shockwaves through him, the tectonic plates of his memories shifting and thrusting him right back in that little kitchen. He closes his eyes and he can taste blood, can feel the rush of air around him, can hear the shattering of ceramic. He closes his eyes and he can see Steve in front of him, red all down his face, pouring from the wound that Billy made.
"Hey," Steve says softly, his hand falling over Billy's. Billy opens his eyes as Steve guides his hand to his lips, gently kisses Billy's fingers, a simple gesture that makes Billy wants to cry. Steve is trying to meet his eye but Billy can't stop staring at that tiny little scar. He closes his eyes, feels a tear escape, and Steve presses a kiss to his forehead and whispers, "Shhh. It's okay. Get some sleep."
Weeks later and they are in Billy's bedroom, Kate Bush muffled by the walls as Max and El flip through back issues of Tiger Beat in the next room. Billy grits his teeth and tries to keep still as Steve winds gauze around and around his middle, securing it against the still-raw edges of Billy's wounds.
"Almost done," Steve promises, snapping off a piece of white medical tape with his teeth. Billy hisses, flinches, when Steve presses the tape down and Steve says, "I know it hurts. I'm sorry." and he really means it. He handles Billy gently, every touch soft, and Billy feels a pang of guilt when he glances down, sees Steve focused intently on unspooling the bandage in just the right way, his head tilted ever so slightly to the side, his hair falling and that little white line glaring up at Billy.
He blinks, looks away, watches Steve hands and thinks of his own. Steve's are so eager to help, to heal, and Billy wonders if his could ever be capable of such care. At only 18, his hands feel rough and worn and designed for curling into fists and smashing kitchenware.
Billy isn't sure how long he sits there, thinking of these things, but soon Steve's hand is on his cheek, the warmest and kindest touch Billy thinks he has ever felt. Billy glances to the side, sees all of the medical supplies returned to the small kit the nurses had handed to his father at discharge. He looks down and sees fresh white coiled around his skin, all those soon-to-be scars safely tucked away. Steve's thumb brushes Billy's skin and Billy meets his eyes.
Steve asks, "Are you okay?"
Billy's gaze slips to that scar on Steve's forehead. He reaches for it, hesitant, as if it might burn him, his fingers hovering for the briefest of moments before he dares to touch it. It feels as though the scar rises up to greet him, as if it wants him to see it, as if it wants him to remember this horrible thing he did to the boy who holds him, who takes care of him, who loves him without a second thought.
Billy feels sick. He swallows thickly, sweeps his thumb up and down that little line on Steve's face.
"Hey," Steve says softly, his hand closing around Billy's, pulling it away from that awful mark Billy left on his body. Billy is sitting on his bed and Steve is crouching in front of him. He shifts slightly, pulling Billy's hand away from the scar. "What are you thinking?"
"Iâ" Billy starts, but no words feel quite right. He shakes his head, lights his fingers on Steve's chin and raises Steve toward him. Steve lets him, lets himself be guided by Billy, and Billy kisses his scar. He lets his lips linger there, as if this might heal Steve, and when he finally pulls away he says, "I'm sorry."
Steve's whole face softens in a way that Billy has never seen before, settles somewhere between sad and sentimental as he holds Billy's gaze.
Then Steve says, "C'mere," as he rises to his feet, his arms around Billy's shoulders, pulling Billy into a hug. Billy is frozen for a moment, unsure of what to do, but Steve is tugging him closer, one hand at the back of Billy's head. He is holding Billy to him, tucking Billy's head beneath his chin, and Billy's wraps his arms around Steve's middle and lets himself be held.
Billy can feel a sob working its way up his throat, has felt it building there for days, and he squeezes his eyes shut and swallows it back down, as Steve tells him, "It's okay, baby. It's okay." And then he can't contain it anymore, can't hold back the floodgates, and he cries and Steve assures him, "I forgive you. It's okay. We're okay."
In the months that follow, Billy finds himself drawn to that little scar again and again and again, though now it feels it different. He brushes it with his thumb whenever he kisses Steve's forehead, kisses it softly when Steve is in his arms, drunk and dozing.
The gesture becomes an absent one, one that they both allow, accept, as natural as holding one another's hands or kissing each other goodnight. Billy likes to imagine that each gentle touch, is its own atonement, its own promise.
I will never touch you like that again, he swears with every kiss. I will never, ever hurt you.
And Steve always kisses him back, always guides Billy's lips back to his, and he smiles when he does. I know, he says without a single work. I trust you, he says. I love you, he says. I'm safe with you.
Harringrove fucking on the hood of the camaro under the stars at the quarry, wreathed in smoke from the joint they've been passing back and forth before Steve closed the distance between them - and bent Billy over the hood with a promise to make him mess up his paint job real good
asdfhjkl! god, YES. this is so THEM. harringrove and joints and the quarry is my favourite combination.
also - âwith a promise to make him mess up his paint job real goodâ - fuuuuuck. this is perfect.
and can you imagine how quiet itâd be out there at night? and all you can hear is billyâs moans and steveâs grunts, and the sound of the camaro rocking. all of those sounds echoing off the quarry. like? a fucking sexy as hell VIBE. thank you for this.
I genuinely cannot decode which would make me go more feral:
A)the 118 absolutely losing their minds because waIT WHAT that's such a huge fucking thing (bonus points for more confusion over why Eddie kept it a secret for so long/didn't consult buck about it before just. Doing it)
B)the OG 118 being completely gobsmacked bc like. They know buddie are Like That but they hadn't realized how deep it went until Ravi and Lucy point out "but you'd only known each other for a year at that point"
C)the entire 118 going "yep sounds about right" and the will reveal is treated almost like a nonevent because buddie are Like That and everyone else is just waiting for the two morons to realize that the family/life they want is right under their noses
(Bonus to any of these if we see money passing hands bc someone bet that there was some kind of legal tie between the two of them)
see as much as option C would be understandable i Need it to be option A or B simply bc if the characters treat it like a non issue then the show will treat it as a non issue and this is something i need to be discussed at leNGTH. therefore i need literally any other character to be like what the fuck this whole scenario is not very platonic dudebro behaviour maybe you should talk about it???? and i need buck and/or eddie to spiral based on the 118's reaction and then i need a heart to heart in which they reaffirm their importance in each other's lives (or admit they love each other, i'm not fussy) please and thank you đ
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Summary: Quentin Coldwater never wanted to fall in love; he went so far as to make a spell ensuring it would never happen. But love wears different faces, and you can never really close yourself to it. When his sister is in trouble, Quentin is right by her side - and the both of them are set on a path that will change their lives.
1)Angsty: Who snaps first and blurts their love confession, under what conditions đ
2)Fluffy: how do they tell Christopher? Or does Christopher tell them? (Bonus points if they aren't actually together yet lol)
3)Favorite tropes/fic premise? đ
sorry my answer to this is so late! i wrote most of this on saturday but didn't get around to finishing it until today
i could see this going both ways but iâm gonna do it like this because i feel like we see the other way round more often: so theyâre at a rescue, and buck and eddie rappel down a cliff to save some hikers. the cliff isnât very stable so they have to be quick and careful but all three hikers are hurt bad enough for them to need to be taken up in the basket, which means one of them will always have to go up with the basket while the other one stays down there. so eddie goes up with the first victim and then comes back down with the empty basket. buck goes up with the second victim and eddie stays with the third and once buck is safely at the top he radios that they should just send the empty basket down and buck shouldnât be rappelling again because the cliff is starting to crumble. and bobby agrees but buck goes, âwhat, no, i gotta be down there with you to have your back, eds.â and when eddie says âwe have to make sure one of us makes it home, buckâ, buckâs stomach drops because that sounds like itâs really bad and like eddie thinks he might not make it. heâs panicking so much he doesnât notice the looks the others exchange at what eddie said, he yells into the radio âweâre both going home, do you hear me? i love chris but i canât do this without you, i donât want to do it without you! do you hear me, eddie?â
âi hear you, buck,â eddie says but itâs not on the radio - because there he is, being hoisted up onto the cliff with the third victim, and buck can only stare as theyâre being pulled to safety because shit, he reacted way more dramatically than necessary, didnât he? so he waits as eddie hands off the hiker to hen and chimney, kind of embarrassed but his heart is still racing because he really thought he was about to lose eddie and he just canât-
âiâm okay,â eddie says once heâs free, one hand gripping buckâs shoulder and buck reaches up and circles his hand around eddieâs wrist because he has to touch him, but anywhere else would mean all bets are off, thereâs no way he wouldnât just pull eddie all the way in.
he feels unraveled anyway, holding on tight as he tries speaking, âi canât- you donât- i love you, okay?â
and itâs only eddieâs hand holding onto his shoulder that stops him from scrambling away in panic over having ruined everything before eddieâs free hand cups buckâs face and he brings their foreheads together softly, murmuring âokay. because i love you, too.â
lmao i love when chris gets it before them so yes:
theyâve been pining for ages and are both single again towards the end of eddieâs recovery, during which buck pretty much lived with them. but now that eddie is better, buck starts packing up his things that have migrated to the diaz house over the past few months, while eddie and chris are watching him (eddie with something thatâs almost a pout and chris with a frown).
âwhat are you doing?â chris asks, and buck looks at eddie a little unsurely, but eddieâs got his arms crossed over his chest and doesnât say anything.
âum, iâm going back to my own place now that you guys donât need me anymore, buddy.â
âdid you guys break up?â
and that finally gets a reaction from eddie too, heâs blushing furiously as he tries to explain to chris that theyâre not dating and never have.
chris looks between them both, still frowning. âare you sure? you both slept in dadâs bed.â
âthat was because of the nightmares,â buck explains, but heâs a bit distracted by how embarrassed and...caught? eddie seems by this line of questioning.
âbut you always make each other smile, and you touch all the time, and you laugh when youâre together. you love each other!â
âthere are different kinds of love,â eddie tries, âand buck doesnât feel that way about me.â
and well, buck definitely hears the way heâs making this out to be a one-sided thing. âyou never asked.â
âwhat?â
âcause if you had, i couldâve told you that iâm head over heels in unplatonic love with you.â
chris gets bragging rights for life about the fact that he got his dads together :)
well, my all time favourite for buddie is idiots to lovers because itâs just so very them, but that can be combined with almost every other trope. i do like the classics like fake dating a whole lot!
