Origami Around
trying on a metaphor
Sade Olutola
Alisa U Zemlji Chuda
Cosmic Funnies
â
⣠Chile in a Photography âŁ
sheepfilms
Cosimo Galluzzi
Show & Tell
DEAR READER
Claire Keane
Love Begins
pixel skylines
â
Lint Roller? I Barely Know Her
"I'm Dorothy Gale from Kansas"
todays bird
seen from Finland
seen from Sweden
seen from United States
seen from Germany
seen from United States
seen from TĂźrkiye
seen from Germany
seen from France
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from United States
seen from TĂźrkiye
seen from United States
seen from Belgium
seen from Indonesia
seen from United Kingdom
seen from Malaysia
seen from United States
@vanillapjm
sorry i didnât answer your message im consumed by a grief that never leaves me and everything feels pointless and agonizing, i have nothing funny or uplifting to say and have spent my days sitting in a dark room grappling with a deep seated emptiness i cannot explain or fill, i hope youâre doing well though talk soon
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this is killing me đ
glasses are the sluttiest thing a man can wear.
Seventeen then Twenty-seven
Pairing: former bestfriend!Keigo x reader
Having been sold off to the Hero Public Safety Commission from a young age, you've been told what to do your entire life. Luckily for you, you had your best friendâKeigo Takamiâby your side. But all of that changes after making the reckless decision to kiss him in your too-small bed.
Content Warnings: angst, smut and fluff, bestfriends to lovers to rivals to rivals with benefits to lovers, don't take the rivals part too serious, semi-public sex (on top of a high-rise, in front of a window and in a changing room), unprotected & protected p in v sex, creampies, fingering, oral (f and m receiving), implied loss of virginity on both sides, multiple orgasms, squirting, a fuckton of hurt, yearning, misunderstandings, fuck the HPSC and their parents, petty games, reader has a quirk, hurt/comfort, inaccurate timeline (Iknow iknow), pierced Keigo!!!
word count: 22.7k
A/n: I'm so happy I found my drafts of this fic that I made somewhere late last year. The first 1.5k were made last year and I finally decided to expand on it for the Hawks lovers. Art on the left by @/melwakame on x & art on the right by @/kadeart on x. Divider by @/cafekitsune
laying side by side on the way too small bed, especially accounting for the crimson wings that are bigger than the bed itself, you find yourself staring into those golden eyes, close enough that you can see the specks of amber in them.
One of the wings is draped over you, crimson feathers twitching every so often, as if whispering against your skin.
Keigo is retelling a story he overheard from one of the handlers. Giggles fill the room, quiet but genuine.
If either one of your handlers found you two, side by side, in the same room, socializing, you two would be dead. Figuratively (âŚyou hope).
They would call it an distraction, the two perfect weapons as they call you two, talking about life beyond the walls of the life they carved out for you. The prison that your parents sold you off to when you two were younger with sweet smiles and promises that only benefited those who failed you.
The walls hereâin this cramped room, bare, save for a bed and a dresserâseem brighter. Not literally, everywhere you look itâs the same industrial gray walls and even floors. No colors, not even floorboards, just concrete.
No personal touch, because that would mean you have something of your own, and they canât have that. No, your lives belong to them, those who pretend to guide heroes. No it seems brighter because of him.
You scoot a little closer to Keigo, not that there is any space left on the bed. In here its just Keigo and you not the names the Commission gave you, names that you didnât even choose yourself but were assigned to you two the moment you got sold off. All sense of self being stripped away.
Well they certainly tried to, but that didnât stop you and Keigo from becoming friends when younger, best friends even. Sneaking off together to have some time for yourselves.
At age 8 he gave you one of his small feathers, alive, twitching, and more importantly, able to pick up your heartbeat if you were to press it to your chest. So I know you're still with me he said with a toothy grin on his face.
It has been there, under your Hero Commission issued gear, for the past 9 years. Not the exact same feather obviously. They ârotateâ every few days, because his feathers die out if he detaches them for too long.
The Warrior's Choice
Summary: During a sacred Yautja ceremony, a warrior must choose the mate who will stand beside him for life. Among proud hunters and warriors, you expect to remain unseen.
Kwei walks through the forest slowly, the weight of the skull resting in his hands. The creature had been strong. Fast. Its claws had cut through stone and bark alike, leaving deep scars across the trees where it fought for its life.
But it had not been strong enough.
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"Here's her leg"
casually hands it over like an IbĂŠrico ham leg
LIKEE BE FRR LMAOO
3 am and i am surviving on caffeine and the hope of not having to present my clinical case
"That's why I'm 42's new battalion chief. I have a knack for diagnosing things, people, fires, stations."
SHAWN HATOSY as BRETT RICHARDS in Fire Country, Season 4 [2/?] 4x02 â "Not a Stray"
DAMMMM WTF IS HIS PROBLEM
the weight of small things
or five times dennis whitaker didn't say anything, and one time he did.
dennis whitaker x f!reader | slow burn, 5+1, ms4!dennis, left-handed! dennis, er resident!reader, two tired people, accumulation of small things, pittsburgh winter, break room pretzels at 5am, being seen before you're ready to be seen
tw: referenced patient death, medical setting, exhaustion and burnout, brief mention of wanting to quit
summary: They don't fall in love the way people do in movies. There's no single moment, no score swelling beneath it, no rain. It's quieter than that. It's the way two people who are both running on empty stop, briefly, in the same place, and find that the stopping feels better than the running did.
one. the coffee
The first time she really notices him, it's 4:47 in the morning and she is losing a war with the break room vending machine.
She's been on since seven the previous morning. Nearly twenty-two hours, which is not a record, she stopped keeping records somewhere around month four of intern year, when the numbers stopped meaning anything useful, but it is the kind of hour where the fluorescent lights stop being lights and start being a personal insult. Her feet stopped sending reliable information to her brain sometime around midnight. She is running on the particular fuel of second-year residency, which is mostly stubbornness and the muscle memory of doing this before.
The vending machine has taken her dollar and returned nothing.
She presses B4 again. The coil turns. The bag of pretzels inches forward exactly one rotation, catches on the edge of the wire shelf, and stops.
She stares at it.
It stares back at her.
The small standoff holds for a moment. She has been awake for twenty-two hours, she has three charts left to close, and there is a bag of pretzels hanging six inches from freedom making a fool of her.
"I will end you," she says, very quietly, to the machine.
"You could try shaking it."
She turns around.
There's a medical student in the doorway, she's seen him around the floor, one of the new MS4s who started the ER rotation two weeks ago. She hasn't had reason to interact with him directly yet, though she's clocked him the way you clock everyone on your floor: name, year, general competency level, whether they'll cause you problems. Whitaker. From what she's seen, no problems. Tall, soft around the edges in the way people get when they haven't slept properly in longer than they can accurately remember. Brown curls that look like they stopped cooperating somewhere around the first overnight shift and have not been negotiated with since. He's holding a paper cup of coffee with both hands like it's the only thing keeping him upright, and he looks just as wrung out as she feels, which is, oddly, a small comfort.
He's watching her with an expression of polite uncertainty, like he's not sure if he's walked into something private.
She blinks at him.
He nods toward the machine. "Shaking it," he says, a little hesitant. "Sometimes it works. The ones in the lobby especially, if you get the angle right."
"I'm not going to shake a vending machine at four in the morning," she says.
"Right," he says. "Yeah. That's fair."
A beat. He doesn't leave. She's not sure why she expected him to. She turns back to the machine and considers her options with the gravity of someone who has very few of them left. Then, without making a conscious decision about it, she plants both hands flat against the side of the machine and shoves it, once, hard. The pretzel bag swings forward. The pretzels drop.
The machine rocks slightly. Settles.
She retrieves her pretzels.
She turns around. The medical student is watching her with an expression that is very carefully, very deliberately, not laughing.
"That," he says, "is essentially shaking it."
"That," she says, "is applied physics. Completely different discipline."
He does smile then, it's small and a little startled, like he wasn't expecting to, like the smile got away from him before he could decide whether to let it. She notices, without particularly meaning to, the way it arrives slowly, like it has to travel some distance before it reaches his face. It's not a performance of a smile. It's just what happens to his face when something is funny.
She tears open the pretzels. "You want some?"
He looks momentarily like she's offered him something more complicated than pretzels. "I don't want to take yourâ"
"There's forty-something in here," she says. "I'm offering five. Six if you're having a bad night."
He considers this with a seriousness that she finds, against her better judgment, a little endearing. Then he crosses the room and accepts the five pretzels she holds out. He eats one. She eats one. The break room hums around them with the particular quality of silence that only exists in a hospital at almost-five-in-the-morning, a thinner silence than any other kind, like the building is between breaths.
"Whitaker," he says, after a moment. "MS4."
"I know," she says. "I've seen you on the floor." She tells him her name, her year. Second-year resident. She watches him catalogue it with a small nod.
"Long shift?" he asks.
She lets out a single, quiet exhale that contains the whole answer. "Little bit."
He nods once, turning his coffee cup in his hands. He doesn't try to fill the silence after that, doesn't reach for more questions, doesn't perform friendliness the way some people do when they find themselves in an unexpected conversation at a bad hour. He just stands there, eating his pretzels, present and unhurried. She doesn't mind it. She notices that she doesn't mind it and files it somewhere she doesn't inspect yet.
"That pot," she says, after a moment, nodding at the coffee maker on the counter, "has been sitting since nine. Whatever is in your cup is approximately half-sediment."
He looks at the cup. "I know," he says. "I've made it twice tonight trying to improve it. I don't think it's a problem that can be solved from inside the system."
"There's a place two blocks down," she says. "Opens at five. The guy there makes actual coffee. The kind where you can taste that it was beans at some point."
He looks at her. "How do you know that?"
"Because I've been doing this for two years," she says, "and you find the coffee or you don't make it."
He takes that in with the same seriousness with which he took the pretzel situation. "Good to know," he says, and he means it, which is the part that's slightly funny, he's filed it, genuinely, like useful information he'll use.
She finishes her pretzels. He finishes his coffee. She goes back to work, and so does he, and they don't speak again for the rest of the shift. But when she passes him in the hallway twenty minutes later and he glances up from the chart he's marking, he gives her a small nod, the particular kind that means I know you now, and that's a different thing from before, and she nods back.
It's nothing.
It's also, if she's being precise about it, the beginning of something. She just doesn't know that yet.
She thinks about it twice on the drive home without knowing why.
two. the waiting room
The thing about working in the ER is that the waiting room is always the worst room.
She has known this since intern year, when she made the mistake of believing the hardest part happened inside the bays, the codes, the blood, the fractured decisions made in fractured seconds. All of that is hard. She won't minimize it. But there is a specific and different kind of hard that lives in the waiting room, in the quality of stillness that collects there. In the faces of people who have been sitting for two hours not knowing. In the children asleep across plastic chairs, and the ones who aren't asleep but are pretending. In the person in the corner whose hands are folded like they're already somewhere else.
She goes out there when she can. Not everyone does. Some people find reasons not to; the floor is busy, the charts are backed up, there's always something, and she understands it, doesn't judge it, because the waiting room costs something. It costs something to walk into it and be present in it, and this job asks so much of people that she doesn't hold it against the ones who conserve that particular cost.
She goes because she decided, a long time ago, that she would. And she keeps the decision, even on the shifts where it's expensive.
She's been talking to a woman for ten minutes, mid-fifties, her husband brought in forty minutes ago with chest pain, now in a bay while his wife sits in the yellow plastic chair nearest the door, which is where people sit when they're trying to stay close to the thing they're waiting for, when she becomes aware of someone settling into the empty chair on the other side of the woman.
She finishes her sentence. She glances over.
Whitaker.
She didn't ask him. She didn't wave him over. He just, came. He's sitting slightly angled toward the woman, and he's not doing anything dramatic, not performing attentiveness, just present in the particular way she's noticed about him on the floor: fully, without divided attention, like whatever is in front of him is the only thing currently in the world.
"âand I keep telling myself they're going to come out and say it's nothing," the woman is saying. Her hands are working in her lap, turning over each other the way hands do when there's nothing to hold. "But every time someone comes through that door I thinkâ"
"That's a hard place to sit," Whitaker says.
He doesn't say he's going to be fine or try not to worry, both things people say in waiting rooms because they're trying to help and both things that land hollow because they're about the future and nobody in a waiting room has the future yet. He just names the thing she's in. He says: that's a hard place to sit.
The woman's breath changes. Her shoulders drop a fraction.
She finishes her own update, delivers the timeline, does the things she's there to do. She's good at this. She knows she's good at this. But she keeps her peripheral attention on him, on the way he holds the conversation with the woman after she's done with the clinical part, not steering it anywhere, not trying to reassure, just letting the woman talk and responding to what she actually says rather than managing her toward calm.
It works the way it works when it's real. Gradually. Without tricks.
When she wraps up, she excuses herself and heads back to the floor. Whitaker follows a few minutes later, catching up with her near the triage desk.
"She was spinning out," he says. Not defensive. Just explaining, in case explanation is needed.
"I noticed," she says.
He looks at her sideways, checking the temperature of that.
She lets her face answer. "Her husband is going to be okay," she adds. "We'll know more in an hour, but it's reading as an anxiety response. Not cardiac."
He exhales through his nose, and the breath carries something. "Okay," he says. "Good." And he means it with his whole chest, which she notices.
She looks at him for a moment. They're both moving, still walking, charts in hand, the ordinary motion of a floor that doesn't stop. "You didn't have to do that," she says.
"I know."
"The rotation doesn't require you toâ"
"I know," he says again. He's quiet for a step. "She looked like she needed someone to sit with her. That's all."
It's such a plain sentence. No performance in it, no awareness of itself as a good thing to say. Just the observation and the response to the observation, cause and effect, simple as that. She looked like she needed someone, so he sat with her.
She picks up the next chart from the rack. "Whitaker."
He looks over.
"That was good," she says. "In there. That was good work."
He blinks. There's a half-second where something moves across his face, not quite surprise, but adjacent to it, like he received something he hadn't budgeted for. "Thank you," he says, and the words are small and genuine in equal measure.
She heads down the hallway. She doesn't see what he does after she turns, doesn't see him stand there for a moment holding the words like he's making sure they're real before he puts them somewhere.
But something shifts in the air, and she carries it for the rest of the shift without examining it.
three. the end of the world shift
There are shifts that break people.
Not the way it looks in stories, not the throwing things, not the walking out into the rain and standing with your face turned up to something. Real breaking is much quieter. It's the two-in-the-morning stillness of a trauma bay after you've done everything correctly and it wasn't enough. It's getting to your car and sitting in the parking garage for an indeterminate amount of time not because you're crying but because you're not anything yet. It's washing your hands and then washing them again and then once more after that, and not being able to say exactly why.
She has a shift like that in November.
It's never one thing. Any doctor who tells you it was one thing is compressing a longer story for convenience. It's the pediatric case at eight in the morning that they almost lose, they don't lose it, and she will think later that they should take more comfort in not losing it, but the almost stays in her chest like something lodged sideways, and it's still there at noon and at four and at seven. It's an attending who snaps at her in front of three nurses over a decision that she made correctly, that she would make again, that she knows she would make again, but it still does the specific thing that it does when someone in authority dismisses you in front of other people, it gets in, even when it shouldn't. It's the family in bay six who keep asking questions she doesn't have honest answers to yet, and the particular toll of standing in that gap between what someone needs to hear and what is actually true.
It's twelve hours of accumulation. And by the end of it she is not broken, because she's learned that she doesn't really break, but she is, she doesn't have a better word for it, she is very close to the bottom of herself, and the bottom is not a comfortable place to be.
She gets to the break room at the end of it and she is not crying. She is, with some effort, specifically not crying, in the way that requires a kind of internal maintenance, a steady holding of something in place.
Whitaker is already there.
He's at the table with a cup of coffee she can tell from across the room has gone cold, and he isn't doing anything, not his phone, not a chart, not anything. Just sitting there with both hands wrapped around the cup, looking at the middle distance with the particular expression of someone who has also arrived at the bottom of themselves and is just existing there for a moment before they have to move again.
He looks exactly the way she feels. It's so precise that it almost makes her laugh.
She drops into the chair across from him without asking, without the usual small negotiation of break room social geometry. He doesn't react with surprise, just adjusts, makes space, shifts the cup slightly as if to say here, there's room. She drops her head into her hands for a moment and presses her palms against her eyes and just holds that position, not caring particularly how it looks.
The break room hums. Neither of them says anything.
After a moment she lowers her hands. He's watching her, not staring, not intruding, just the kind of watching that means I'm here, I see you, I'm not going to ask you to perform okay-ness. She's catalogued this quality in him over the past month and a half: the ability to be present without demanding anything from the presence. It's not a small quality. Most people can't do it.
"Rough one?" he asks. His voice is quieter than the room.
"Mm," she says. Which is not really an answer but contains the whole answer.
He nods. He doesn't push.
"You?" she asks.
He looks down at his cup. Wraps his hands around it a little tighter, like he's cold even though he isn't. "The man in bay two," he says.
She remembers. She'd been three bays down. She'd heard the call, tracked the timeline in the way she tracks all timelines on the floor, peripheral and constant. She nods slowly.
"I did everything right," he says. He says it the way people say things they've been saying to themselves for hours and haven't yet been able to make land. "I know I did everything right. Robby told me. I ran through it, and Iâ" He stops. His jaw moves. "I keep waiting for the part where that matters."
She looks at him across the table and thinks about every time someone said this to her, the early version of it, when she was still new enough to believe there was a clean resolution available, and about the insufficient comfort she'd been offered in return. The it gets easier. The you'll find a way to contextualize it. The things that were meant well and landed hollow.
She decides to tell him the truth.
"It matters," she says. "It just takes longer than you want it to before it feels like it does. Sometimes a lot longer." She pauses. "And in the meantime you just have to carry it."
He lifts his eyes to her.
"There's no trick to that part," she says. "There's no reframe that makes the weight lighter. You just get better at carrying weight. That's all it is." She holds his gaze. "And you will. You're already better at it than you think."
He's quiet for a moment. He doesn't look away. "How do you know that?"
"Because you're sitting here instead of pretending the shift didn't happen," she says. "Because you're letting it be what it was instead of managing it away. That's the work. Most people don't know that's the work."
He exhales slowly through his nose. Something in his shoulders changes, not release, exactly, but a slight shift, like one of the layers of tension has been named and naming it does something.
They sit there. The break room holds them. Someone moves past in the hallway outside, shoes squeaking on linoleum, and then the quiet resettles like dust after a door closes.
"I have pretzels," he says, after a while.
She looks at him.
He reaches into the pocket of his scrubs and produces a small bag. Same brand as the vending machine. He sets it on the table between them with the matter-of-fact placement of someone who has decided this is the correct thing to do and is doing it without ceremony.
She stares at the bag. "Did you buy those because of the vending machine thing?"
"I bought them," he says carefully, "in preparation for potential future vending machine failures. Which is a different and more responsible thing."
She takes three pretzels. He takes three pretzels. They eat in the silence they've been building for a month and a half, it has texture now, this silence, it is made of specific things , and she feels, not better exactly, but less alone inside it, which she has learned over two years of this job to treat as its own category of good. Less alone is real. Less alone is worth something. She stopped dismissing it somewhere around month six of intern year when she realized that some nights it was the best available option and that was okay.
"Thank you," she says, when she stands up to go. She lets the words do more work than their surface. She doesn't mean the pretzels.
He seems to know that. He nods once, small and even. "See you out there," he says.
"See you out there," she says.
She goes back to the floor. She is still carrying what she was carrying when she walked into the break room, but the walk back to the floor is fractionally shorter than the walk away from it had been, and she holds onto that fraction because fractions are what this job is made of.
four. the thing with the hand
It happens on a Wednesday, which is the kind of ordinary day that makes the moment feel slightly wrong in retrospect, like it should have happened on a more significant day, a day with weather or a date you'd remember. But it's a Wednesday in December, gray, full waiting room, two staff members called in sick, the particular brand of cold that the building's heating system has never learned to fully address.
She runs a trauma in the morning with a nurse and a very tired attending, and Whitaker appears at the door not to watch but because the nurse waved him in for a second pair of hands. He finds his position without instruction, does what's asked cleanly and without excess, doesn't crowd anyone or second-guess out loud, and when it's over he documents his part and moves on without making anything of himself.
She notices. She always notices the people who do the work and don't make anything of themselves for doing it.
After, she's filling out paperwork in the hallway, the surfaces inside are all occupied, the floor is that kind of busy, so it's the wall or nothing, and she becomes aware of him doing the same thing a few feet down. She glances over.
He's writing with his left hand, which she hasn't registered before. The handwriting is the particular kind of terrible that comes from spending a lifetime in a world that defaults to right-handed systems, slightly cramped, the letters leaning the wrong way, fighting the page.
"You're left-handed," she says.
He looks up. "Yeah."
"I've never noticed."
"Most people don't. Or they notice and don't say anything." He goes back to writing. Then, a beat later: "Is that relevant to something?"
"No," she says. "I just notice things."
He glances at her, brief, a little sideways, something considering in it, and goes back to his page.
A minute passes. The hallway moves around them: a cart, someone calling a name, the background percussion of a floor at capacity.
"I notice things too," he says.
She looks up.
He is not looking at her. He is still writing, head angled down, the cramped left-handed scrawl moving across the page. The tips of his ears have gone a little red, which she's come to understand as the specific thing his face does when he's said something before he finished deciding to say it.
She looks back at her own paperwork. Her pen has stopped moving. "Like what?" she asks.
A pause. He turns a page.
"Like you always take the hard families," he says. His voice is even, almost clinical, like he's presenting an observation. "The ones that are complicated or angry or grieving in a way that makes other people slow down in the doorway. You just go in." He pauses. "And you eat at three instead of noon. Every shift, almost. Because the break room is empty then."
She has stopped writing entirely.
"And you check on patients after your shift is technically over," he continues. "Not every time. But when something's still open. When you're not sure." He turns another page. "And when you're waiting on labs, just before you open the chart, you hold your breath. For about a second."
The hallway continues its business around her. She is not in it.
She is looking at the side of his face, at the ear that's still a little red, at the deliberate angle of his eyes toward the page. He's not looking at her, and she understands suddenly that this is a kindness, that he said it to the page instead of to her face because that makes it easier to receive.
"You noticed all of that," she says.
"I notice things," he says. Simply. Like it's just a property of himself, like being left-handed.
There is no performance in it. No I've been watching you with its attendant implications. Just: here are things that are true about you that I paid enough attention to learn. That is all.
Her chest does something she doesn't have a precise word for. It's in the neighborhood of warmth and in the neighborhood of ache and it is the specific sensation, she's felt it before, rarely, in the moments that turn out to matter, of being seen accurately, by someone who chose to look.
Her pager goes off.
She looks at it. Bay four. She caps her pen. She pushes off the wall and she opens her mouth to say something, she doesn't know what, she doesn't have it yet, there isn't time, so she says: "Good catch in there earlier. The aspiration."
"Thanks," he says.
She goes to bay four.
She doesn't look back. She doesn't need to, she can feel the attention, quiet and directional, the way you can feel warmth from something without seeing it.
In bay four she opens the chart and she catches herself, just for one second, just before the screen loads, holding her breath.
She didn't know she did that.
She knows it now.
five. 3am in radiology
She finds him in radiology at three in the morning, which is not a thing she was expecting to do with this particular hour, but the ER has spent two years teaching her to stop expecting things and she's a reasonably good student.
The reading room is a small one, barely larger than a generous closet, tucked at the end of the radiology hallway, usually occupied by whichever resident drew the worst overnight assignment. It smells faintly of stale coffee and the specific staleness of a room that gets used in the deep hours and aired out between. There's a lightboard on the wall and two chairs and a desk that nobody sits at and the particular blue-white light that makes everyone look slightly otherworldly.
The radiology resident is not in it. The chair is empty.
Whitaker is standing in front of the lightboard with his arms crossed and his head tilted at a slight angle, looking at a set of films with the focused expression of someone working on a problem they weren't assigned.
She stops in the doorway. He doesn't startle, he never startles, something she's noted before with that specific combination of calm and slight unreality, like the world would have to try harder than that to catch him off-guard.
"What are you doing?" she asks.
"Looking at the films for the chest pain in bay seven." He doesn't look away from the board. "Okafor wants me to present at handoff. I wanted to make sure I was seeing what I'm seeing."
"You could pull those up on any computer."
"I think better with the lightboard." He says it plainly, without any self-consciousness about it. "Something about the size. The way you have to stand in front of it." A pause. "You can see things differently when they're bigger than you."
She steps inside. The door closes behind her and the room becomes smaller in the way small rooms do when there are two people in them. She stands beside him and looks at the films.
The blue-white light settles around both of them. She can see the case immediately, the haziness in the right middle lobe, the shadow that sits at the edge of certainty.
"Right middle lobe," she says. "There."
"Yeah." He uncrosses his arms and points at it, not touching, hovering, the way you do when you're not sure enough to commit the gesture fully. "I keep looking at it and I can't decide if I'm seeing an infiltrate or manufacturing one."
"You're seeing one."
He turns. "Yeah?"
"Probable. Early pneumonia or aspiration, you'd need more context to differentiate. But the shadow is real." She tilts her head slightly. "You were right to look."
He absorbs that, turns back to the films. She watches the processing happen, the small visible movement of thought across his features that she's come to recognize, the particular quality of his attention when he's taking something in versus when he's waiting for his turn to speak. He genuinely takes things in. It's rarer than it should be.
"I almost didn't flag it," he says. "On the initial workup. I thoughtâ. "Â "I kept going back and forth, and at some point I started thinking I was just making myself anxious." He pauses. "I do that."
"I know," she says.
He looks at her.
"It's not a weakness," she says. "The back and forth keeps you from being sloppy. The only time it becomes a problem is when it makes you go quiet. When you have something and you sit on it because you're not sure anyone wants to hear it."
He's still looking at her. The blue light makes everything in the room feel slightly suspended, like the normal rules about what costs what are temporarily different. "Is that what I do?"
"Sometimes," she says. "Less than when you started."
Something shifts in the lower half of his face, not quite a smile, more like the precursor to one, the muscles making the decision before the expression commits. "You've been watching me."
"I watch everyone on my floor," she says. "That's the job."
"Right," he says. And then, quieter: "Right."
The lightboard hums between them. The room holds them in its blue-white light and its small particular silence. She becomes aware, in the way awareness sometimes arrives wholesale rather than incrementally, all at once instead of building, of exactly how close they're standing. There's room. There's technically room. But the room is small and they're both oriented toward the same point on the film and at some point the space between them stopped being neutral and became something she's conscious of in a way that requires some maintenance to not react to.
She doesn't move away.
Neither does he.
"Can I ask you something?" he says, to the film.
"Sure," she says, to the film.
"Why do you go to the waiting room?" His voice is measured, careful, he's not asking to make conversation, he's asking because he actually wants to know. "You don't have to. It's not in any expectation of your role, from what I can tell. But you go. You go out there and you sit with people who are scared." He pauses. "Why?"
She considers the question. She's been asked versions of it before, by attendings making small talk, by other residents who've noticed, by people who mean it as a kind of compliment dressed as a question. She's given versions of an answer, professional, tidy, the kind that explains the behavior without exposing anything underneath it.
She doesn't give that answer tonight.
"Because the waiting room is where the fear lives," she says. "Everything inside, the bays, the decisions, the procedures, that's where we work. We're busy in there. We have things to do with our hands. But the people out there just have to wait, and waiting is its own specific kind of suffering, and most of the time they're doing it alone." She looks at the film, at the shadow in the right middle lobe. "I think if you can do something about suffering, you should do it. Even if it's small. Especially if it's small, maybe, because nobody's measuring the small ones."
The room is quiet.
She's aware that she said more than she usually says. She said it to the lightboard rather than to him, which helped. But she said it.
He's quiet for long enough that she glances at him. He's not looking at the film anymore. He's looking at a middle point somewhere between them, something thoughtful in his expression, not analyzing what she said, she doesn't think, more like sitting with it, letting it settle.
"There was a patient today," he says, slowly. "Mrs. Colter, in bay three. She came in alone and she was there for six hours waiting on results, and every time I walked by she was just, sitting there. Hands folded. Not on her phone. Just sitting." He pauses. "I stopped in twice to update her. But the second time I stopped, I stayed for about fifteen minutes, and we talked about, I don't even know. Her garden. The neighborhood she grew up in. Nothing that mattered medically at all." He stops. "I kept thinking I should go. That I was wasting time."
"You weren't," she says.
"I know that now," he says. "But I felt like I was supposed to feel like I was wasting time. Like that was the correct way to feel about fifteen minutes that didn't produce a clinical outcome."
She turns to look at him fully. He's still looking at the middle distance, but she can see the architecture of what he's describing, the tension between what the training shapes you to value and what some quieter part of him keeps insisting matters. She recognizes it because she spent the better part of intern year having the same fight with herself, and the part of her that kept insisting won, and she made a decision about it that she's kept every shift since.
"You're going to have that argument with yourself for a while," she says. "Between the efficient version and the version that stays fifteen minutes. And I'm not going to tell you it goes away completely, because that would be a lie. But â" She pauses. "The fifteen minutes matter. They matter to Mrs. Colter and they matter to who you're going to be as a doctor, and I don't know how to say that without it sounding like a poster in a hospital corridor, but it's true."
He looks at her then. The blue light from the board catches the line of his face, and he's looking at her with the expression she's been in proximity to for three months now, the careful one, the attending one, but there's something else in it tonight, something that's been building for a while that the blue light and the three in the morning and the small room have pushed close enough to the surface that she can see it clearly.
She looks back at the film. Steadies.
"I think about quitting sometimes," he says, quietly.
She goes still.
"Not â not seriously. I'm not going to. I just â" He runs a hand through his hair, the gesture she knows: looking for words, coming up short. "There are days where it all feels so enormous, and I don't know if I'm actually cut out for it or if I just wanted to be. And those feel like different things." He exhales. "And I don't have anyone here who, I mean, Santos is great, but she'd just tell me I was being dramatic, which is probably what I need most of the time. But sometimes I just want someone toâ" He stops. "I don't know what I want. To say it out loud, maybe."
"Okay," she says. Her voice is steady and quiet. "You said it out loud."
He makes a sound that's almost a laugh. Not quite.
"It's not the same thing as actually quitting," she says. "Wanting to quit is just your brain telling you the weight is real. It is real. It would be strange if you never wanted to put it down." She pauses. "The difference between you and someone who actually should quit is that you go and sit with Mrs. Colter's garden for fifteen minutes, and you flag the shadow in the right middle lobe, and you stayed in that waiting room today with a woman you didn't know because she looked like she needed someone. People who should quit don't do any of those things."
The room is very quiet.
He doesn't say anything. She doesn't fill it.
After a moment he looks back at the films, and she looks back at the films, and they stand there in the blue light for another half hour, talking about the case, about a similar presentation she'd seen in September, about the differential for right middle lobe haziness in someone his patient's age, about a paper she'd read the month before that had changed how she thought about aspiration in older adults. It's clinical. It's grounded. It is also, underneath all of that, something else, something that two people staying past the point of necessity in a small room at three in the morning can only really be one thing, even if neither of them names it yet.
She leaves first. Bay to check. She always has a bay to check.
At the door she pauses, because there's something she wants him to have before she goes. She turns.
"Whitaker."
He looks up from the film.
"You're going to be a good doctor," she says. "Not eventually. You already are one. You're just still in the part where it doesn't feel like that yet." She holds his gaze for a moment. "But I've watched a lot of people go through this rotation, and I'm telling you, it's not an average thing, what you do. Pay attention to that."
He goes still. Just for a beat, a skipped frame, the pause before something lands.
"You don't have toâ"
"I know I don't," she says. "That's the point."
She goes back down the corridor. Her pager goes off. She answers it. She does all the things she always does.
But the reading room stays with her, the blue light, the hum, the particular quality of having stood next to someone in a small space and chosen, in some quiet way, not to move away from them, and it stays with her for the rest of the shift, and then for the drive home, and then a little beyond that.
six. where it lands
It's a Tuesday in January, the kind of day that starts ordinary and maintains it all the way through without apology. No extraordinary cases. No near-misses. No moments of grace or disaster. Just the ER being the ER, relentless and steady, patient to patient, bay to bay, the regular work.
She's at the nurse's station writing note, she's two charts behind, which for a Tuesday is actually fine, when Santos materializes beside her.
Santos does not arrive so much as appear. It is a quality she has and likely knows she has and has possibly cultivated. One moment the space beside the nurse's station is empty and the next moment Santos is leaning against the counter with her arms crossed and the specific expression of someone who has decided to say something and is taking a beat to enjoy the timing.
"You know he talks about you," Santos says. No preamble. No greeting.
She doesn't look up from the chart. "Who does."
"Huckleberry." Santos reaches over and helps herself to a pen from the cup on the counter for no apparent reason. "Not on purpose. That's the thing. It's not like he's trying to. It's more like you come up." She examines the pen. "We'll be talking about a case and he'll say something like, she had something like this in September or she told me once that you watch for â, and then he keeps going and then like two sentences later he stops and gets this look."
She has looked up from the chart.
Santos meets her eyes with the expression of profound innocence she wears specifically when she is the least innocent person in the room. "Just something I noticed," Santos says.
"Santos."
"Hmm."
"Why are you telling me this."
Santos puts the pen back. She straightens up from the counter, tugging the front of her scrubs into place, and for a moment she drops the innocence and just looks at her directly. "Because he's not going to," she says. Certain. Simple. "He's from Nebraska. He'll be sixty and retired before he says it first, and he'll say it like an apology." She pushes off the counter. "And because you make a face."
"What face."
"The one when he walks into a room." Santos is already moving away down the hallway. "The one that you're making right now, actually."
She opens her mouth.
Santos turns the corner.
She stands at the nurse's station. The floor moves around her, phones, footsteps, someone calling for a chart, and she is briefly not in any of it. She is thinking about a face she apparently makes when someone walks into a room. A face she thought she was keeping to herself. A face that Santos, who notices everything and mentions it with the precision of a surgeon, has clocked and named.
She picks up her pen.
She finishes the chart.
She tells herself she is not going to carry that around for the rest of the shift.
She carries it around for the rest of the shift.
It's the end. The shift is finally, properly, concretely over.
She's in the break room doing the end-of-shift ritual, the badge going into the bag, the slow transition from this self back to the other one, the one that exists outside of these walls and those walls' particular demands. She has plans. The plans are her apartment and a shower and her couch and as many consecutive hours of sleep as the city is willing to permit. She has been on her feet for thirteen hours and the soles of her shoes have become intimately acquainted with every square foot of this floor and she is ready to go.
The door opens.
She knows before she looks up. She's been knowing things about his particular arrival before she looks up for about a month now and she's been declining to think about what that means.
Whitaker.
He stops just inside the door. She stops reaching into her bag.
For a moment they just look at each other, which is, she's aware of this, has been aware of it for some time, a thing that they do now. Look at each other. Not in the loaded, weighted way of people building to something obvious, more in the way of people who have accumulated a lot of small things and haven't figured out yet what they add up to.
"Hey," he says.
"Hey," she says.
They have exchanged this particular greeting approximately a thousand times across the three and a half months of his rotation. This one is different. She can feel the difference and so can he, she can tell by the slight adjustment in his expression, a careful awareness clicking into place.
"Long shift?" she asks.
"Little bit," he says.
The familiarity of that, her words in his mouth, the rhythm of it that they've built across dozens of break room conversations, does something to her chest.
He crosses to his locker. She should pick her bag up and go. She does not pick her bag up and go. She stands in the middle of the break room with her bag strap in her hand and she is thinking about Santos saying the one you make when he walks into a room, and she is wondering what her face is doing right now.
He opens his locker and then doesn't do anything with the opening. Just stands there for a moment, back to her.
"I was thinking," he says. His voice is careful in a way that is different from his usual careful. "About that coffee place."
She blinks. "The one two blocks down?"
"You mentioned it. Back in October." He takes his badge off and puts it in his locker. "I was thinking about trying it tomorrow morning. After." He closes the locker. Turns around. He's looking at her with the expression she's spent three and a half months learning, and underneath the familiar layer of it there's something else, something that has been present for a while, she understands now, something she has been politely not looking at directly, the way you don't look directly at something bright. "If you wanted to come."
She looks at him.
He is standing by his locker with his hands in the front pocket of his hoodie because his hands don't know what to do with themselves. She knows this about him. She knows the difference between his hands in his pockets because he's relaxed and his hands in his pockets because he doesn't know where else to put them. This is the second kind.
"I don't usually love getting coffee after a shift," she says.
He nods, and she can already see it beginning to assemble on his face, the accommodation, the easy retreat, the no worries, it was just a thought that he'll mean completely, without bitterness, because that is precisely and specifically who he is and she knows it down to the bone by now.
"But," she says.
He goes very still.
"I don't think I'd be done," she says, "if it was you."
The break room is quiet. It is not a dramatic quiet, there's still the hum of the refrigerator, still the distant constant noise of the hospital beyond the walls, still the fluorescent light doing its fluorescent thing. But between them, in the specific small geography between where she's standing and where he's standing, something settles.
She watches it happen on his face, slowly, carefully, the way everything moves on his face, he never rushes anything, he always makes sure he's reading it correctly before he lets it mean something. The careful expression doesn't disappear. It just opens, slightly, from the inside. Like a room with more light in it than there was a moment ago.
"Yeah?" he says. Barely above quiet.
"Yeah," she says.
He exhales. She knows this exhale, she has a small catalogue of his exhales by now, the way you accumulate knowledge about a person you've been paying attention to without letting yourself fully admit that's what you're doing. This one is relief. The specific relief of someone who prepared themselves honestly for the harder answer and is now recalibrating.
"Okay," he says. And then, softer, like it escaped: "Good."
She doesn't move toward the door yet. There's something she's been sitting with since December, since the hallway and I notice things too and his ears going red, and she has been in this building long enough to have learned what waiting costs, to have watched people talk themselves out of things by waiting too long for the right moment, to know that the right moment is usually just the moment that's happening right now.
"Whitaker," she says.
He looks at her. He does the full version of it, not a glance, the whole thing, the way he looks at patients when they're telling him something important.
"I notice things too," she says.
He doesn't move. He waits. He's very good at waiting, the kind of waiting that isn't passive, that's actively giving you the space to say what you're going to say.
"I noticed that you always let people go first," she says. "In conversations, in doorways, with the attendings. Even when you have the thing, the right read, the correct answer, you wait. You give other people the room before you take any." She pauses. "And I noticed that you fold your notes in half before you put them in your pocket, even when they don't need folding. Every time." She looks at him steadily. "And that you learn the nurses' names within the first week. All of them. Not just the ones on your bays. All of them. And you use them."
His jaw moves slightly. He doesn't say anything.
"And I noticed," she says, quieter now, "that you are tired almost every single day, genuinely. Bone-deep tired in a way that would give most people an excuse to be short with people, to cut corners on the things that aren't being graded, and you never are. You stay gentle. You stay present. Every shift." She lets that sit for a moment. "I don't know if anyone's told you that. But I've been watching people do this job for two years and it's not common. It's not something you can teach someone. You either have it or you don't."
The break room is very, very quiet.
He's looking at her the way he looked at the films on the lightboard, like he's making absolutely sure he's seeing what he's seeing before he says it out loud.
"I've been trying," he says finally, "to figure out how to say something to you for about two months."
She waits.
"I'm â" He runs a hand through his hair, the motion she knows means looking for words, coming up short. "I'm not good at this. I grew up in a place where you just, did things, and the doing was the saying, and nobody reallyâ" He stops. "I don't know how to say the thing. I know what the thing is. I've known what the thing is for a while. I just don't have." "I don't have the sentence for it."
She looks at him across the break room, this tired, careful, left-handed person who notices things and stays gentle and folds his notes in half and came three thousand miles from a farm in Nebraska to do this hard, enormous thing, and who has been, for three and a half months, one of the most quietly significant parts of her days.
"Then don't say it in a sentence," she says. "You've been saying it in other ways for months. I've been hearing it."
He looks at her for a long moment.
"Have you," he says. It's not quite a question.
"Yes," she says. Plainly. "And I've been saying it back."
Something happens then, slow, like everything with him, unhurried and real, the careful quality giving way to something less guarded underneath it. Not performing the letting go. Just letting go. His hands come out of his pocket. He looks at her like she's something he's been looking for without the right word for what he was looking for.
"The coffee place," she says. "Is it too late to go tonight instead?"
His mouth does the thing, the slow arrival of the smile, traveling its distance. "It's almost five," he says.
"I know," she says.
"It's been a thirteen-hour shift."
"I know."
He tilts his head slightly, the same angle as the lightboard. "Yeah," he says. "Okay. Yeah, let's go."
She picks up her bag. He gets his coat. He holds the door and she walks through it, and they go down the corridor side by side, not touching, not quite, the space between them a decision rather than a default, and through the ambulance bay and out into the January morning, which is cold and gray and not beautiful in any conventional sense, the city just barely starting, the sky the color of something that hasn't made up its mind yet.
They walk two blocks. Their breath makes small white shapes in the cold air. She doesn't feel the thirteen hours the way she felt them inside, out here there's wind, and the smell of the city in winter, and the particular quality of early morning that belongs to nobody yet, that exists in that gap between the people who stayed up all night and the people who are just waking up.
She is, she realizes, not tired.
Or rather: she is tired, deeply and accurately tired, but the tiredness has been joined by something else, something that coexists with it without canceling it, a kind of aliveness that has been accumulating since October and has finally, on a gray Tuesday morning in January, reached some threshold she doesn't have a better name for than this.
They push open the door of the coffee shop. It's warm inside, and it smells like actual coffee, exactly like she told him it would, and the man behind the counter looks up and nods in the specific way of someone who is used to seeing hollow-eyed people in scrubs at five in the morning and has made his peace with it.
Whitaker looks at the menu on the wall with the expression she recognizes from the lightboard and from every chart he's ever considered and from the five-pretzel decision, the expression of someone applying genuine thought to a thing other people would decide in ten seconds. She watches his face while he reads and thinks: there it is. The thing that has been true for a while and is now just â out. Said, or as good as.
There he is.
The man behind the counter looks at them. "What can I get you?"
Whitaker looks at her. "What do you get?"
"The Americano," she says. "Milk, no sugar."
He looks back at the menu. "I'll have the same," he says.
She smiles. He catches her smiling and his ears go a little pink and he looks back at the counter like that was a completely normal thing to say.
They take their coffees to the small table by the window. Outside, the city is starting to happen, a bus, someone with a dog, the gradual accumulation of morning. She wraps both hands around her cup and lets the warmth come in.
"Can I ask you something?" she says.
He looks at her across the table. "Yeah."
"When did you know?" she asks. "That you wanted to do this. Medicine." She tilts her head. "You told Santos it was because you wanted to do more than what you grew up with. But that's the version of the answer that's â it's true, but it's not the whole thing. What's the whole thing?"
He looks at his cup for a moment. The morning comes in through the window behind him, gray and gradual.
"When I was sixteen," he says, "one of our farm hands got hurt. Machinery accident. My dad and I were the ones with him until the paramedics came and I remember â I remember being so scared, but also feeling this very strange calm at the same time, like my brain just went: okay, here's the situation, here's what needs doing, do it." He pauses. "I'd never felt that before. That specific kind of calm. And I remember thinking, after, that I wanted to feel that again. That I wanted to be the person who knew what needed doing."
She listens. She lets the silence hold the story after he stops telling it.
"And then I spent about four years convincing myself it was impractical," he says, a slight wryness in it, "and then I applied anyway."
"I'm glad you applied," she says.
He looks at her. "Yeah?"
"The ER is better with you in it," she says. "The patients in it are better. Mrs. Colter with her garden is better." She pauses. "I'm better. Having someone around who â" She stops. Tries again. "Who takes it seriously. The whole thing. Not just the clinical outcomes."
He's quiet for a moment. Outside the bus passes. The morning arrives another increment.
"I don't know what I'm doing most of the time," he says.
"Neither do I," she says. "Nobody does. The people who are sure they know what they're doing are the ones you should worry about."
He laughs, a real one, low and quiet and completely unguarded, and she's heard him laugh before but not like this, not this easy, and it's a different thing than the almost-laughs and the careful-smiles and the mouth-twitches she's been collecting since October. It's just a laugh. It's just him, in the morning, warm coffee, no performance.
She holds it, carefully, and adds it to the collection.
They stay for an hour. They talk about the shift, about a case he's still thinking about, about a technique she learned in her intern year that changed how she approached a certain kind of presentation. They talk about Nebraska, about what it's actually like, not the summary version, the real version, the particular quality of that much space and that much quiet, and she tells him about where she's from, the real version, and he listens the way he always listens, with his whole self oriented toward what she's saying.
At some point the coffee is gone and they're just talking, and neither of them reaches for their phone to check the time, and the morning outside the window has become actual morning, full light, the city in it fully, and she thinks: this is what it looks like when something that has been accumulating quietly for a long time finally tips into the open.
Not dramatic. Not cinematic. Just two people at a table with empty cups, talking in the morning, unwilling to be the one who says I should go first.
She says it eventually. She has to. Sleep exists and is non-negotiable.
He walks out with her. On the sidewalk they stop, and there's a moment, the particular kind of moment that needs something, that is clearly asking for something, and she watches him navigate it, the slight gathering of himself, the decision-making visible just under the surface.
"Tomorrow," he says. "We're both on at seven?"
"We're both on at seven," she confirms.
He nods. He looks at her for a moment with the look she knows now, the careful one, the attending one, the one underneath which there is no longer anything she doesn't understand. "I'll see you in there," he says.
"See you in there," she says.
She walks to her car. The cold air is bracing and the morning is full and she is tired in the specific, complete way of a body that has done its work and now needs rest. She gets in. She sits for a moment before she starts the engine.
She thinks about three and a half months of small things. Pretzels and lightboards and the sound of an exhale she learned to read. The way he folds his notes. The specific red of his ears. The slow arrival of a smile that has no performance in it. A Tuesday morning and two Americanos and the way he said I'll see you in there like it was a promise he'd been keeping for a while and was just now saying out loud.
She starts the car.
She drives home.
She is asleep within eleven minutes of lying down, which is the fastest she's fallen asleep in longer than she can remember.
She doesn't think about why until later. And then she thinks: it's because something that takes energy to carry has been set down, and the setting-down happened so quietly, so gradually, that she almost didn't notice.
Almost.
Three weeks later he reaches for her hand in the break room. He does it the way he does everything â without announcement, without making anything of it, like it's just the next true thing that needs doing. And it is.
She lets him.
author's note:
there's a specific kind of person that this job either breaks or quietly shapes into something extraordinary. dennis whitaker is the second kind, and i don't think he knows it yet. that's the part that gets me.
i wanted to write him the way i see him, not as someone who's still figuring out the medicine, but as someone who already understands the part that can't be taught. the sitting with people. the noticing. the staying gentle on the days when gentle costs the most. i wanted to write a story where someone sees that in him before he sees it in himself, and where that seeing becomes the whole thing between them.
âthis one is for everyone who needed someone to stay in the room. and for the ones who stayed.
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the thing about her
trinity santos x f!reader, yolanda garcĂa x f!reader, santos x garcĂa the pitt (2025)
tags: slow burn, pining, they're so obvious except to her, established santos/garcĂa (kind of), reader is oblivious, like genuinely has no idea, reader would absolutely be down for it if she knew, she just doesn't know, hurt/comfort if you squint, found family, workplace romance, blurb format, no beta we die like our patients
summary: santos lost count somewhere around month three. garcĂa stopped counting entirely. you're just trying to get through your shift.
The emergency runs long.
By the time it wraps GarcĂa is still in her trauma gown and Santos is at the hub finishing notes with the end-of-hard-shift energy, the kind that means she's running on fumes and spite and is fine about it. They have plans tonight. Dinner, the kind of dinner that started as a maybe four months ago and has been slowly becoming something more specific, more certain, without either of them making a formal announcement about it.
They're standing close, not touching, when the elevator opens.
Santos sees you first.
you're still in the dress.
it's the kind of dress that was chosen for somewhere that isn't here, a deep burgundy thing, the kind that fits like it was made for you specifically, and your hair is down and you have a bag over your shoulder and the expression of someone who was forty minutes away from a good night out with your friends when your pager went off.
Santos's pen stops moving.
GarcĂa, half a second later, looks up from her chart.
the hub does a very subtle thing where everyone is suddenly very interested in whatever is directly in front of them.
you spot them and cross over. "tell me it's bad enough to justify ruining my friday."
"define bad," Santos says, and her voice is completely normal, she's a professional.
"Princess has your assignment," GarcĂa says, also completely normal, also a professional.
"great." you're already moving. "I'm grabbing scrubs first, I'm not traumatizing anyone's patients in this."
"probably wise," GarcĂa says.
you're gone. down the hall toward the scrubs dispenser, bag over your shoulder, dress still happening for approximately another four minutes.
Santos waits until you round the corner.
"hm," she says.
"don't," GarcĂa says.
"I didn't say anything."
"you were going to."
"I was going to say hm."
"Santos."
"GarcĂa."
a beat.
Mel appears from bay three, flipping through a chart, and stops when she clocks the two of them standing at the hub doing nothing with the specific frozen energy of people interrupted mid-something.
she looks at them.
she looks down the hall where you just disappeared.
she looks back.
"oh" she says, in the tone of someone connecting dots she didn't know were there.
"Mel," GarcĂa says.
"I didn't say anything," Mel says, which is the exact same thing Santos just said, delivered with significantly more amusement. she leans on the hub counter. "she just get called in?"
"yes," Santos says.
"still in theâ"
"she's changing," GarcĂa says.
"right." Mel looks at her chart. looks up. "so you two are just standing here."
"we're finishing notes," Santos says.
Mel looks at Santos's pen, which has not moved in two minutes. "sure," she says pleasantly, and goes back to her chart.
Santos looks at GarcĂa.
GarcĂa looks at Santos.
this is the thing about them, the thing that would be messy if either of them made it messy, which they don't, which is a decision that was made in a supply closet three months ago in about forty words total.
we're good, GarcĂa had said.
we're good, Santos had said.
she doesn't know.
she has no idea.
okay.
okay.
and that was that. not resolved, not complicated, just. acknowledged. the three of them existing in the same floor in the specific way of something that hasn't become anything yet and might not and either way they're all still here doing their jobs and getting through their shifts.
it works.
mostly it works.
it works until you walk out of the elevator in burgundy and Santos's pen stops moving, apparently.
Princess appears at the hub, tablet in hand, with the particular energy she has when she's already three steps ahead of everyone. she clocks Santos and GarcĂa standing there and says nothing, which with Princess means more than saying something, because Princess notices everything and files it and produces it later at exactly the right moment with the precision of someone who has been watching this floor for a long time.
"assignment's ready," she says. to the general vicinity. "she just grabbed scrubs."
"thanks," GarcĂa says.
Princess looks at them both for one second. just one. then she goes back to her tablet.
Mel, without looking up from her chart, makes a sound that is not quite a laugh.
"not a word," Santos says.
"I'm working," Mel says innocently.
you reappear from the hallway in scrubs, hair pulled back now, bag gone, dress exchanged for the standard issue black that everyone wears and that looks, somehow, still completely like you because you are aggressively yourself in every context.
"okay," you say, arriving at the hub, taking the tablet Princess holds out to you with the smooth efficiency of someone already shifting into work mode. "what do we have."
"bay two and bay five," Princess says. "two is straightforward, five is going to need you."
"got it." you scan the notes. look up briefly. "you two eat yet?"
Santos blinks. "sorry?"
"it's almost nine," you say, already moving. "there's food in the break room, Robby brought something, I don't know what, go eat before it gets worse." and then you're gone, bay five, just like that, in and out, completely unaware.
Santos stares at the hallway.
"she noticed we hadn't eaten," she says.
"she always notices," GarcĂa says.
"in the thirty seconds she was standing here she noticed we hadn't eaten."
"Santos."
"I'm just saying it's a lot, GarcĂa, it's genuinely a lot, she does it without evenâ"
"Santos." GarcĂa says it the specific way, the warm way, the way that means I know, I also know, we're both aware, let's be adults. "food."
Santos exhales.
they go to the break room.
Mel follows, saying nothing, wearing the expression of someone storing information for later.
Princess stays at the hub, makes a small note on her tablet that is almost certainly not about patient care, and goes back to work.
outside bay five you're already introducing yourself to the patient, scrubs perfectly unremarkable, dress folded in your bag, the burgundy evening completely traded for this one without complaint.
you don't think about it.
you never do.
that's the whole thing.
that's exactly the whole thing.
Authorâs note:
reader is oblivious in the way that genuinely observant people are sometimes oblivious, she notices everything except the thing that's right in front of her. she would be so down for it by the way. she just doesn't know yet:(
santos and garcĂa are almost a thing and also have a whole separate situation and they've accepted this about themselves which i think is very mature of them. Princess knows everything and said nothing. she's also already made a bet. she's not worried about it. she knows she's going to win. she's just waiting.
â with love and a concerning investment in three people who need to have a conversation
omg I just read Give It Til April and I just wanna say I think it's my favorite Jack Abbot (or just the pitt) fic I've read so far and I've read TONS
the way you write is mesmerizing captivating and peaceful at the same time it was truly amazing
thank you so much, this made my day genuinely. iâm really glad it resonated, itâs a quiet story so itâs always nice to hear it landed the way i intended. means a lot đ¤ââââââââââââââââ
give it till april
jack abbot x f!reader | slow burn, age gap, hurt/comfort, veteran!jack, reader is a paramedic turned ER charge nurse, chronic pain themes, emotional avoidance, pittsburgh winter
tw: ptsd adjacent themes, referenced combat injury, referenced grief, medical setting
The first thing you learn about Jack Abbot is that he lies about his pain levels.
Not dramatically. Not in the way patients lie, theatrical minimizing, hoping you won't notice the sweat on their upper lip or the way they're breathing through their back teeth. He lies the way someone lies when they've been doing it long enough that the lie has become the first language and the truth is the translation. Automatic. Fluent.
You know this because you spent six years as a paramedic before you became a nurse, and paramedics learn to read bodies the way other people read faces. By the time you get to a scene, the body has already been telling the story for minutes, sometimes hours. You learn to listen to it instead of the words.
Jack Abbot's body, on a bad day, says something completely different from what his mouth says.
His mouth says fine, it's manageable, don't worry about it.
His body says the socket fit is wrong today, or the weather changed overnight and the phantom pain is running hot, or he's been on his feet for six hours past the point where he should have sat down. The particular set of his jaw and the almost-imperceptible shift of his weight to his right side are the story, if you know how to read it.
You know how to read it.
You don't say anything about it for the first two months.
THE PITT 2.08: 2:00 P.M.
trinity santos is a study in fandom misogyny because they gave her all the characteristics fandoms usually salivate for in men, being gruff, quippy and misunderstood with a tragic backstory but a heart of gold beneath it all. they put all this into her AND let her be a lesbian. she's everything you could ever want in a character but she's not a man so half the fandom either hates her or constantly mischaracterizes her as petty, callous and aggressive while doing mental gymnastics to baby the male characters around her
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Can someone tell my bacteria theyâre supposed to grow?
Where Fate Was Written Before Time
Alpha! Anthony, Benedict & Colin Bridgerton x Omega!Fem!Reader
Time Travel/ Transmigration AU for reader
past chapters: chapter 1, chapter 2,
CHAPTER 3
By fourteen months, she was walking.
By seventeen months, she was talking.
Not the ordinary halting toddler speech of first words and labored repetition, but actual speech, structured, articulate, assembled from the vocabulary she had been building since before her first breath, drawing on the English of her past life's extensive reading to supplement and expand what she was currently learning from the people around her.
She was careful about it. She had decided, early, that the most strategic approach was not to reveal the full extent of her capability immediately. The goal was to appear precocious without appearing unsettling. She had calibrated this target with the same care she might calibrate a treatment plan, enough deviation from the expected to be interesting, not so much to trigger alarm.
"She said empirically this morning," her nurse Mrs. Potts reported to Constance, with the expression of someone who was either impressed or deeply concerned and hadn't yet decided which. "She was looking at the bread and she said empirically the crust is the best part."
Constance looked at her daughter, sitting on the nursery floor with a cloth book and an expression of serene innocence.
"[Name]," she said carefully. "Where did you learn that word?"
[Name] looked up at her mother. She had learned, in her months of careful social observation, that her mother responded best to directness, that charm was appreciated but seen through, and that the most reliable way to maintain trust was to offer truth in approximately the right proportion.
"From Father," she said, which was partially true, she had heard her father use it, and offered her mother a smile of such devastating sweetness that Constance momentarily forgot to be suspicious.
"She's remarkable," Edmund said that evening, when Constance reported the exchange.
"She's something," Constance agreed, in the tone of a woman who was reserving judgment but keeping her eyes open.
[Name], in the nursery, was reorganizing her cloth books by topic with the focused efficiency of someone who had spent two years managing patient charts and found disorder fundamentally offensive.
She loved her family fiercely and without reservation, and this was perhaps the thing that surprised her most about her transmigration. She had expected to feel displaced. Detached. She had expected to carry the weight of her past life as a separation, a distance between herself and this world that could never be fully closed. She had expected to be a visitor in her own life, observing from behind the glass of her memories.
She had not expected to love them so completely that sometimes it ached.
Charles, her eldest brother, was twelve when she was five, and he treated her with the exaggerated patience of a boy who had been told repeatedly that he must be gentle with small sisters and had internalized this instruction with such thoroughness that it occasionally crossed from gentleness into condescension, which she found less agreeable. She was working on him. She had discovered that the most effective method was to ask him questions that he confidently began to answer and then couldn't finish, which produced in him a productive frustration that led, over time, to him beginning to take her seriously.
William, at nine, was her favorite of the brothers, not that she would have said so, because she loved them both and understood the politics of sibling dynamics, but William had a quality that she recognized and valued: he was genuinely curious. About everything. He asked questions not to perform intelligence but because he actually wanted to know the answers, and he extended this genuine curiosity to his little sister in a way that meant he treated her less like a small child to be managed and more like a person to be interested in. They spent hours together in the library, William reading aloud from books he found exciting, [Name] listening with the focused attention that she had learned to display in proportion, enthusiastic but not so attentive as to remind anyone that she was a five-year-old who probably shouldn't be following complex historical narrative.
She loved London, which surprised her. She had expected to find it difficult, the smells, the lack of modern sanitation, the particular hazards of an era without antibiotics or anesthesia or any of the medical tools she had spent years training to use. And there were certainly moments when the gap between what she knew and what was available made her quietly, intensely frustrated. But London itself, the streets and the sounds, the peculiar beauty of a city before it had been overlaid with concrete and glass and electric light, the horses and the carriages and the vendors calling their wares in the mornings, the particular quality of the light through old glass windows, the smell of coal fires and bread and the river, London was extraordinary. It was alive in a way she hadn't anticipated.
She explored it as much as she was permitted to, which was not very much, which she found limiting but accepted as the practical constraint it was. She was five years old and a girl and an Omega in Regency London. Her radius of freedom was, by definition, small.
She was already planning to expand it.
