who: @we1rdoswhat: uno reverse where: outside of clem's trailer
More often than not, Mick feared that she knew more about Clementine than she would like to. That had been their whole relationship friendship whatever-it-was, hadn't it been? Clem gave, Mick took; Clem told her about everything, Mick told her about nothing; Clem wanted, Mick feared. Yes, the 'opposites attract' trope always seemed to work until it didn't. Nonetheless, how much 'everything' had truly been shared? That was what Mick believed she knew -- that was what made Mick fear that she knew more about her than she would like. Because she knew a lot, but she also didn't know enough. What she knew was scratch and sniff, but that was still enough to know one thing... Clementine was bound to be showing her unique version of care to everyone who had been deeply affected by the news (Mick wanted to see it, she wanted to see what had remained), which had likely been masking how it had affected her. Because they had been friends, yes? In a past life, in those days of scraped knees? Thus, much to her own chagrin, Mick found herself outside of Clem's trailer (partially regretting not having just texted her, partially regretting initiating contact at all, but fully knowing that it's just the thing to do -- especially if you're looking out for everyone and few are looking out for you). So... one second... two seconds... and she knocked. And masked it by calling in, "Iggy almost killed Fish again."
whatĀ hadĀ beenĀ hauntingĀ clementineāsĀ cobwebbedĀ brain theseĀ pastĀ fewĀ daysĀ was,Ā oddly,Ā notĀ theĀ thoughtĀ ofĀ ameliaāsĀ deathĀ āĀ notĀ atĀ firstĀ glance,Ā anywayĀ āĀ butĀ theĀ feelingĀ thatĀ herĀ lovedĀ onesĀ wereĀ pullingĀ away.Ā mickĀ hadĀ beenĀ familiarĀ withĀ thisĀ sideĀ ofĀ herĀ ā theĀ moreĀ desperate,Ā slightlyĀ violentĀ one ā asĀ sheĀ drewĀ herĀ lineĀ onĀ theĀ ground,Ā asĀ sheĀ letĀ herĀ knowĀ theirĀ taleĀ ofĀ epicĀ loveĀ wasĀ nothingĀ butĀ aĀ fantasy.Ā perhapsĀ chasingĀ otherĀ people,Ā focusingĀ herĀ energyĀ onĀ theĀ possibilityĀ ofĀ herĀ childhoodĀ friendāsĀ passingĀ beingĀ anĀ intriguingĀ mysteryĀ insteadĀ ofĀ aĀ sadĀ occurrence,Ā concealingĀ theĀ permanenceĀ ofĀ itĀ byĀ repeatingĀ mantrasĀ suchĀ asĀ noĀ oneĀ trulyĀ leavesĀ us,Ā wasĀ herĀ twistedĀ wayĀ ofĀ coping ā herĀ wayĀ ofĀ escaping.Ā
alas,Ā clementineāsĀ neverĀ beenĀ oneĀ toĀ sitĀ aroundĀ andĀ analyzeĀ herĀ feelingsĀ ā¦Ā norĀ doesĀ sheĀ careĀ toĀ start (Ā iĀ doubtĀ sheāsĀ evenĀ awareĀ thatāsĀ whatĀ healthy,Ā functioningĀ peopleĀ doĀ ).Ā instead,Ā sheĀ torturesĀ herĀ husbandĀ withĀ allĀ theĀ attentionĀ othersĀ areĀ unwillingĀ toĀ accept.Ā āĀ door,Ā baby,Ā door!Ā āĀ francisĀ yellsĀ fromĀ theĀ smallĀ shower,Ā faceĀ peekingĀ fromĀ behindĀ theĀ beadedĀ curtain.Ā āĀ openinĀ theĀ door,Ā baby,Ā openināĀ theĀ door.Ā ā foolĀ replies ā aĀ shameless lie, sinceĀ sheāsĀ stillĀ sittingĀ onĀ theĀ edge of the toiletĀ justĀ toĀ remainĀ near, her fingersĀ diggingĀ intoĀ hisĀ handĀ evenĀ though heĀ very much needsĀ itĀ forĀ cleaningĀ purposes.
itāsĀ onlyĀ whenĀ theĀ endĀ ofĀ mickāsĀ sentenceĀ reachesĀ herĀ pointyĀ earsĀ thatĀ herĀ frizzyĀ headĀ snapsĀ up,Ā abandoningĀ herĀ throneĀ toĀ zoomĀ towardĀ theĀ entrance;Ā notĀ beforeĀ pushingĀ throughĀ theĀ multicoloredĀ crystalsĀ toĀ giveĀ hisĀ cheekĀ aĀ bite.Ā āĀ reallyĀ goināĀ now,Ā baby,Ā reallyĀ goinā.Ā donātĀ missĀ meĀ tooĀ much. no, actually, do miss me too much.Ā ā doorĀ swingsĀ openĀ (Ā afterĀ aĀ bitĀ ofĀ persistentĀ tuggingĀ ),Ā andĀ clementineĀ shutsĀ itĀ rightĀ away,Ā withĀ themĀ bothĀ outside.Ā āĀ wannaĀ go forĀ aĀ walk,Ā man?Ā āĀ anĀ answerĀ isnātĀ needed;Ā itāsĀ moreĀ demandĀ thanĀ question.Ā herĀ shoulderĀ smacksĀ againstĀ mickāsĀ asĀ sheĀ movesĀ pastĀ her. into the trailer park's night they go.










