nobody's son, nobody's daughter.
Pairing: Joel Miller x Fem!Reader
Rating: Mature (18+ minors DNI)
Summary: When you and Joel get separated the night of the outbreak, you spend the next decade searching for him. Just when you've given up— a miracle occurs.
Warnings: heavy angst, canon typical violence, character death (sarah), discussions of grief, very brief mention of suicidal ideation, alcohol used to cope, depression, suggestive language, lovers reunited, hurt/comfort, happy ending.
Word Count: 6.6k
Currently Playing: Chemtrails Over the Country Club by Lana Del Rey ♪
A/N: This piece has been months in the making, hours of rereading and rewriting. This is my love child. I'm possibly (definitely) planning a part 2 with smut... ;) I am a full-time college student who unfortunately has other responsibilities, so please be patient with me. My first lengthy piece in a while, so please be kind & enjoy my doves!
Sleep was the most convenient temporary escape available in the post-cordyceps world. Oftentimes, if you were lucky enough, with sleep came dreams—glimpses of a divine, utopian life. One without spores or fungi of any kind. There was, however, always the chance that with it came nightmares—Polaroids of the past, the uprising of the infection. Mothers clutching bloodied children, decaying men ripping open flesh with their savage teeth, and, worst of all— losing Joel Miller.
Joel was... everything—neighbor, friend, lover. Joel hated that word— laughed every time it managed to escape your lips in a hushed whisper, but that was what you were to each other. It transcended explanation. You'd moved to Austin after college in hopes of starting over, a clean slate. Instead, you'd stumbled upon a single father and his then 11-year-old daughter. You fit into their life like the missing puzzle piece— you completed them. Sarah needed a motherly presence in her life. There was only so much Joel could do for the blossoming young woman.
And Joel— Joel never knew what he was missing until you came along. Someone to be able to rely on, to love unconditionally, a fixed constant. To say he fell head over heels was an understatement, but it became so much more than physical attraction. It became something far more profound and terrifying— love. The kind of love only poets write about. It was fierce, at times agonizing. That's what made losing him all the more heartbreaking.
You were with Sarah the night of the outbreak— Joel's birthday. Lounging around in plaid pajamas, waiting for Joel to get home from work. Despite being exhausted, Sarah was beaming with pride over her birthday present for her dad— his broken wristwatch now repaired and refurbished. You smiled mischievously, "And just where did you get the money to fix this, young lady?" Sarah grinned slyly, "Just lyin' around, it's not like he noticed it was missin'!" Hours passed, you and Sarah slumped against the couch: Fast asleep, soft snores escaping mouths, drool dribbling down chins.
The sight made Joel's heart quaver in his chest. Kicking off his muddied work boots, he carefully plopped down in between the two sleeping figures, planting a gentle kiss on the crown of your head. "Hmm. You're home," you stirred awake, drowsy eyes met with a welcome sight: Weathered tan skin and dark chocolate curls. "Hey, Darlin'. You outta head up to bed. I'll be up soon." You nodded faintly, planting a chaste kiss on Sarah's forehead: "Goodnight, sweet girl."
You fell fast asleep as soon as your body hit Joel's mattress, his scent engulfing you like a blanket of safety— a shield of sorts. The vague smell of sawdust and pine soap conquered your senses, a heavenly combination. An hour later, you felt the bed dip down, strong arms circling your waist.
Frantic hands shook you awake, calling your name weakly: "I can't find Dad. N' somethin' weird is goin' on outside." You sat up, Sarah's urgency pulling you from your hazy half-asleep state. "Don't worry, sweetheart, I'll call him. Go back to bed." Sarah ignored your suggestion and sat beside you as you reached for the landline. The call went to voicemail without hesitation: "Huh... That's weird."
Sarah grew more anxious by the second, "I'm gonna go check the driveway for his truck." Sarah shot up from the bed, feet pattering down the stairs. "Sarah! Wait, I'll come with-" Throwing on your Converse, you hastily ran out after her. Your tired eyes scanned the pavement but found no signs of Sarah or Joel's truck. The Adler's door was wide open; you huffed: "Sarah?"
The Adler's house was pitch black and eerily quiet, the family's dog nowhere to be seen: "Sarah? This is trespassing!" Tiptoeing through the living room, you halted at the sight of a ruby trail— blood. Grotesque, wet noises filled the previously silent house: "Sarah?" The teen bolted out of the kitchen, grabbing your hand and pulling you towards the front door: "Run!" Mrs. Adler scrambled after Sarah, mouth dribbling crimson liquid, no longer bound to her wheelchair.
"What the fuck–" Sarah's grip on your hand tightened as you passed through the door and stumbled onto the pavement. A pair of familiar brown eyes scanned Sarah's figure and then yours: "Sarah? Darlin'? Are ya'll ok-" Joel's words were cut off when Mrs. Adler dashed through the front door, her figure lunging for you.
Joel struck the side of her head with a wrench as you made a feeble attempt to crawl away. His strikes were lethal, and yet the elder kept thrashing against the ground. "Joel, stop!" Only then did you notice Tommy, Joel's younger brother, behind you, coaxing Sarah into the truck.
Joel exhausted Mrs. Adler with one final swing, dropping the bloodied wrench beside him and wiping his shaky hands on his jeans. His gaze softened when he saw your timid frame— shaking and unmoving. "Darlin'... Baby, are you okay?" His hands found your shoulders, rubbing soothing circles on a patch of exposed skin. You hesitated; Joel had just killed Mrs. Adler in cold blood— but she tried to kill you and Sarah first.
Joel hurriedly hoisted you to your feet, "We gotta go, okay baby? It's not safe here." You clambered into the backseat beside Sarah, the girl's arms thrown around you tightly. Kissing the crown of her head, you reassured her: "It's okay, sweetheart, everything's okay."
Neighbors began to exit their homes, baffled and disturbed by the sight of Mrs. Adler's bloody, lifeless body lying in the yard. Someone called out for Joel. He immediately instructed her to go back inside and lock the doors. Tommy beckoned Joel into the car, exiting the culdesac and taking off towards the highway. After a fleeting moment, you mustered up the courage to ask, "Joel, what's going on?" Tommy replied, "They're sayin' it's a virus- some kinda parasite." Sarah spoke up, tears forming, "Are we sick?" Joel shot the idea down immediately.
Tommy and Joel continued bickering, your eyes glued to the road ahead: "Joel! Look- It's Jimmy's place." The two-story farmhouse was completely engulfed in flames, unrecognizable. Your hands clung to Sarah, burrowing her head into your neck: "It's okay, sweet girl." Police sirens rang out through the darkness, interrupted by soft pleas for help. A family was stranded on the side of the road, begging for aid. Tommy began to slow the car. "What're you doin'?" Joel firmly questioned. Tommy shot back, "Got a kid, Joel."
"So do we. Keep drivin'," Joel spat. Tommy sped back up, eyes searching Joel's for an explanation: "Somebody else will come along." As Tommy approached the interstate, the sounds of disgruntled drivers grew louder: "Fuck! Everybody had the same fuckin' idea. I can't get through this." Joel gripped the dashboard, "All right, all right. Let's think it through," he paused for a moment, "All right, take the field! We cut across, and we pick up on the west side." Tommy steered right, the truck jerking on the uneven terrain. As he drove over the hill, helicopters and tanks came into view, "Shit. Fuckin' army."
Sarah peered out from behind the seat, "Isn't that good?" Your voice was filled with hesitation, "That's the highway we need to get to." Joel and Tommy argued, eventually continuing toward a town just east of the highway. Sarah stilled, "Maybe it's everywhere. Maybe there's nowhere to go." A booming roar erupted, Tommy twisting his body to get a better look at the night sky: "What the fuck?!" Commercial airplanes flew overhead, merely hundreds of feet above the ground. You instinctively covered Sarah's ears with your hands, eyes wrenching shut at the deafening rumble of their engines. Tommy swerved to avoid a police blockade ahead, turning into a nearby alleyway.
The streets were flooded with screaming civilians, running in every direction— no one sure who exactly they were running from. A hoard of people fled from inside a movie theater, causing Tommy to shift the truck's gear into reverse. "Dad?" Sarah called out, "Dad!" Joel turned; an airplane was rapidly descending— heading straight towards town, "Shit. Move!" As the plane made contact with the ground, a mushroom cloud of fire and smoke bloomed, causing Tommy to lose control of the truck.
A strong hand shook your leg, "Darlin'? Stay right there, don't move." Your side ached, cool liquid flowing from your head. Beside you, Sarah quickly came to, her eyes shifting to the figure hunched outside of the flipped car, clawing at the corpse of an older man. "Sarah, baby, don't look. C'mere, put your arms around me." As Joel carefully unearthed Sarah from the mangled truck, you climbed out of the shattered window: Hissing as you shifted against your arm. Sarah tried to put weight on her leg, provoking muffled whimpers and cries at the attempt. Tommy, equipped with his shotgun, called out, "We gotta get off the street!"
As you approached Joel and Sarah, a flaming police car crashed into the capsized truck, separating the three of you from Tommy. Tommy roared from the other side of the wreck: "Meet at the river! I'll find a way." Joel turned to Sarah, "Can you run?" She shook her head wearily. He scooped her into his arms, "Keep your eyes on me." Joel shifted towards you, "No matter what, you keep runnin'. Alright, darlin'? Promise me." You hesitated, desperate eyes meeting his, "I promise."
The three of you stumbled through the alley until you came across a cluster of bodies scattered across the pavement, crouched figures grunting over the lifeless figures. The end of the passage was clear. The only problem was getting past the rotted creatures without being noticed. There was no way Joel could outrun them in his condition. One of the creatures shot up at the sound of a remote blast, eyes landing on Joel. His voice was firm, "Go." You grabbed his arm, "Joel!" He repeated his command, louder— frantic: "You can't carry Sarah w'that arm. Go find Tommy. We'll meet you there."
You pressed a hurried kiss to Sarah's head, the deranged man scrambling to his feet before you could embrace Joel. You took off towards the other end of the alley, Joel and Sarah barricading themselves inside the vacant diner across from the pile of carcasses. Your body throbbed with every step, head burning with the fire of a thousand suns. Your feet carried you across town, weaving in and out of injured civilians and infected until you reached the river. The stream was pitch black, sounds of gunfire and cries rang out in the distance.
Suddenly, a bright light blinded you: "Put your hands where I can see 'em!" You obeyed, raising them as high as your injured arm would allow. Your voice raw with distress, "M'not sick! Just trying to find my family!" The man stepped closer, seemingly inspecting your physical state. He was clad in military gear, "You hurt?" You shook your head eagerly: "Just a sprained arm." He nodded his head, "Alright. We've got buses that can take you to a decontamination zone."
Your head scanned the vast field, eyes scouring for any sign of Joel or Tommy: "I- I can't. I'm supposed to meet someone here. At the river." The soldier looked dissatisfied and slowly lifted his gun, "The river goes on for miles. S'not safe out here." Your eyebrows threaded together in confusion, "What- are you- are you gonna shoot me?" The soldier's grasp on his automatic rifle tightened, "I'm sayin' you have two choices. You can either come with me or you can-"
A guttural scream sounded from behind him. But before he could turn around, a pair of arms seized his neck and began ripping into his military garb. The soldier flailed wildly at his attacker. While he was busy fighting off the deranged beast, you took off into the darkness, wandering aimlessly and calling out for your family. That night was the last time you saw Joel Miller.
16 Years Later
The bitter winter air overwhelmed your senses until you were gasping for air, limbs numb and cold to the touch. You wouldn't make it much longer without shelter, without warmth. You'd spent the better part of the last 16 years searching for him— for Joel. Ever since that night, you'd scoured every independent civilization, every QZ, within mobs of infected. Each night, you silently prayed never to find him like that— skin pallid and overcome with fungus, head split wide open, cordyceps blooming from within.
You'd trekked across the country with the sole intent of finding him alive and healthy. The journey was brutal— raiders and infected desperate for blood. But by far, the hardest battle was pushing away the nagging thought that, even if Joel and Sarah were somehow alive, you'd never find them. Now, after nearly two decades of searching, you were reaching the end of your journey. You'd officially trekked across the entire nation. If your estimations were correct, you were nearing Wyoming— hence the formidable cold front.
You'd heard rumors about a small civilization located somewhere on the skirts of Jackson County— your last stop. You knew the chances were slim; that feeling only fortified with each city, each civilian who hadn't heard of or seen anyone by the name of "Joel Miller." But you kept searching— because the day that you stopped would be the day you lost everything, lost yourself. It was as though he held onto you with a leash. If you tugged hard enough, could you finally break free? What else did you have to live for? Maybe one day you'd have some sort of epiphany, something to make sense of all the death and suffering. For now, Joel kept your hope alive— the hope that there was happiness and safety beyond all of the pain. The very thought of him kept you alive.
You stood in front of thick and rusted iron gates, your posture crooked due to exhaustion— Just one more stop. The sounds of cocking guns drew your attention to the top of the gates. A young man and woman stand there, rifles pointed at you: "Drop your weapon! Let us see your hands!" You obey. This is standard practice amongst civilizations— you'd done it a thousand times by now. Unsheathing and kicking away your pistol, you then throw your backpack towards the gate. Hands raised next to your head. Your voice wavers as you half-shout, "I'm not infected! Just looking for someone!"
The woman searched your face for a bit, presumably looking for any signs of deceit. She nodded towards her companion, the corroded metal walls unfolding. Two men approached you and picked up your discarded belongings. The younger of the two roughly patted you down and checked for bite marks. When they were satisfied, they led you past the gates into the town square. The village was pleasant, a handful of people milling about in the slushy streets.
A familiar voice erupts from behind you: "Please excuse the initial hostility. We need to be careful about who we let in... I'm Maria." She extends her hand. You accept it gingerly and introduce yourself. "Welcome to Jackson. You must be freezing. Come on, we'll talk inside." — Maria leads you inside a small building, the exterior reminding you of the Lincoln Logs you used to play with as a child. The inside is... quaint. A lone desk sits near the lit fireplace. Maria leans against the desk and motions for you to take a seat: "So... You're lookin' for someone. And you have reason to believe they're here?"
You sigh, allowing your aching body to relax against the couch's plush cushions: "No... I am looking for someone, but... Well, this is my last stop." Maria nods sympathetically, tucking a lone braid behind her ear— "I get it. You've been looking for a long time. It's about time to stop. To rest." You can't help the tears that form on your waterline. Your gaze shifts to your lap. Maria continues, "Who are you lookin' for?"
You swallow the fist-sized lump in your throat, "Joel. Joel Miller." Your attention snaps towards her as a wistful sigh escapes her lips. A tight frown dawns on Maria's face, "I'm sorry. There's no Joel Miller here." You nod; you knew it was a long shot, but hearing it aloud was something different entirely. You rise from the couch, "Thank you. I apologize for takin' up your time." Maria speaks up before you can reach the door: "Now what? You got a place to stay?"
You honestly hadn't thought that far, about life beyond looking. For years, finding Joel was your only purpose— your rationale for remaining on this infested hellscape. You had no home, no roots. Maria's voice interrupts your thoughts, "There's room here. We've got food and water— shelter. Hell, we're even working on electricity." You turn to face her. Her words dripping with verity, "Jackson could be your home."
Despite having just met her, Maria's words touched something buried deep within you— hope. Hopeful of a new life, of new beginnings. You forged a small smile, "Okay." Maria smiled, but it was much different from yours: It was toothy, genuine— "Alright. I'll give you the grand tour then." For the next hour or so, Maria marched you around town. She showed you the vast dining hall laden with maple furniture. The stables filled with mare and their young.
Then she showed you the schoolhouse. It was a small brick building. The walls were filled with colorful crayon drawings. Tiny handprints were pressed onto the wall in various colors of acrylic paint. The dulcet sounds of innocent laughter erupted from every corner of the room. Children from the ages of 5-12 were scattered around: Some doing arts and crafts, some reading, and others playing with worn toys. A tear slipped down your cheek. You brushed it away quickly before Maria could notice.
You couldn't help but think of Sarah. About the first time she knocked on your door— she was selling chocolate bars for some fundraiser at school. Her bronze complexion dappled with freckles, and her wide smile revealed a missing tooth. She was eleven at the time, eyes bright and full of wonder. Blind to the atrocities that loomed at every turn. Sometimes, you'd think about what she looked like now— did her curls still rest atop her shoulders? Did she still laugh until she was panting for air? She's thirty now... Has she fallen in love? That was considering she is still...
You didn't entertain the thought. Sarah was fine, alive somewhere with her father to look after her. Maria's touch pulls you from your thoughts, "How about I show you where you'll be living? Get you settled in." As Maria exited the schoolhouse, you stole one last glance at the room. A little girl met your gaze. Her dark curls were pulled into two ponytails. Her burnt mahogany eyes crinkled at the corners as she smiled, raising her tiny hand and waving it at you. You returned the sentiment, this time allowing the tear to fall down and onto the ground.
Maria escorted you just outside of town, to a street lined with country-style two-story houses in relatively good condition. "This one here, the green one. It's already furnished. I'll have one of my guys come by later with some essentials from the pantry. Otherwise, you should be all set 'til tomorrow." Your eyes bore into the house. It was nice, but also... "It's big," you retort, "Don't know what I could possibly need all those rooms for." Maria lays the silver key in your hand, "You never know."
You internally cringe at the connotation. Start over with some man? Have a big family and a white picket fence? You couldn't. It wouldn't be the same. You let out a shaky breath, "Thank you, Maria." She nods, "Come see me tomorrow, and we'll talk about where to go from here. Everyone in Jackson has a job, a role to play. Rest up... You deserve it." She departs, leaving just you and your great, big, empty house.
3 Years Later
Jackson developed rapidly under Maria's supervision. The population rose from 50 to roughly 300 in just under three years. Jackson now had electricity, thanks to the Jackson County Hydroelectric Dam that Maria's team was able to get up and running. You'd become the head of patrol— in charge of organizing the schedules and determining the routes. You and Maria had become very close, practically family. She's the person who understood you, what you've been through.
In an attempt to busy yourself and earn your keep, you'd thrown yourself into working alongside her. Not just with patrols but also with community relations and development. You'd completely reconstructed the greenhouse, built a jailhouse— that, luckily, wasn't used much— and helped fortify Jackson's defenses. Maria assigned you the title "community leader," but you much preferred what everyone else called you: "Maria's right hand."
Your house was still too big, but now it felt homier— lived in. The walls were plastered with botanical paintings you'd found while out on patrol, vases of fresh cut flowers from the community garden placed upon every surface. Cable knit blankets were draped over the shabby leather furniture, the brick fireplace emanating warmth and bringing solace during the cold winter months. You'd even taken up baking in your spare time, frequently bringing baked goods to the schoolhouse.
Nevertheless, when the sun set and the sounds of bustling downtown Jackson faded, your thoughts always returned to Joel. His bronze skin, tousled brown curls, and perfectly plump lips. Suddenly, it felt as though the house was mocking you, and the right side of the bed always grew colder. Perhaps it's why you worked yourself so hard; taking a day off was seldom. You couldn't escape the persistent feeling that Joel and Sarah weren't alive. That you'd failed to find them time and time again because somewhere, they were six feet under, buried in an unmarked grave. All it takes is one moment— one lapse between heartbeats— and suddenly, everything has changed.
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The spring air was crisp with morning dew. A gentle breeze slipped through the cracked bay window. Three heavy thuds woke you— the sharp knocks cutting through serene silence. Your voice was raspy with sleep, "Coming!" You quickly pulled on the worn terrycloth robe that hung from the bedpost and stumbled downstairs. You swung the door open to reveal Stanley, a young man who worked in construction: "I'm so sorry to wake you, but Maria sent me to get you. She said it's urgent."
You sighed deeply, rubbing the remaining exhaustion from your face: "Urgent like, 'don't get dressed' urgent?" Stanley's eyes roamed across the dark fabric of your robe before snapping back to your face. His cheeks bright pink, "Oh, um... no! Just meet her in her office ASAP." Sending him off with a nod, you traipsed upstairs and threw on a pair of jeans and a t-shirt before making your way downtown. It was early morning, the streets empty save the early risers milling about, getting ready for work. As you passed a group of older women sipping hot beverages, you overheard whispers of "an outsider." As Maria's righthand, you were expected to greet all incoming arrivals. How on earth that could constitute a crisis, you did not know.
As you approached Maria's office, the woman in question exited swiftly, shutting the door behind her. You grew closer, taking note of her fidgeting hands. She was... nervous? "Good morning, Mar. What's the emergency?" Maria's face was sullen. You'd never seen her like this, not in the three years you'd known her. Your hands clenched at your sides, "Maria? What is it?"
She took a deep breath, "This may be a false alarm, but... This guy's last name is Miller. Says he's originally from Texas." Her words stole the air from your lungs, a pit forming in the bottom of your stomach. She said something else, but all you could hear was buzzing. Your vision blurred, the dark-skinned woman's features coming in and out of focus. Could it be him—had Joel finally found you?
Maria called your name, pulling you from your trance. As your vision focused, you pushed past her. Your grip on the doorknob was bone-crushing, your knuckles turning white from the tension. You inhaled— don't get your hopes up. It might not be him. You exhaled, pushing the door open with a startling amount of force. You analyzed the man's figure, you recognized him— only it wasn't Joel. It wasn't the Miller whose calloused hands once traveled the expanse of your body, making note of each hidden crevice as though it may hold treasure. Whose lips once seared white hot kisses in the places he knew were the most sensitive— "Tommy?"
He looked dumbstruck, his lips parted in shock. Before you could stop yourself, you threw your arms around his neck. It took him a moment to reciprocate your embrace, but once he did, his arms anchored you in place. He spoke your name quietly against the crown of your head: "I can't... I can't believe it." You pulled away, "I hardly can either." His hands rested atop your shoulders as his eyes searched your face in disbelief. His resemblance to his older brother felt like a gut punch. You were afraid to ask— fearful of the truth: "Joel? Is he..."
Tommy's hand squeezed your shoulder in reassurance, "He's alive. Last I checked, holed up somewhere in the Boston QZ." A warm tear slipped down your face, the salty liquid resting just below your chin. You'd checked Boston QZ, but recent "terrorist" attacks had made it impossible to stay longer than an hour without drawing the attention of every FEDRA soldier in that godforsaken city. Your hands trembled as you clutched your chest, "And Sarah? How's my sweet girl?"
Tommy's face went cold— No. No. She can't— "She's gone." The taste of bile rose in your throat, "Wh-when?" Tommy removed his hands from your shoulders, "That night. Shot by some military fucker. She..." He hesitated, "Joel held her. It happened s'fast." Your kneels buckled, threatening to send you towards the ground. You fucked up— you let yourself get accustomed to the idea of her being alive. Repeated it over and over again until you believed it to be true. This was all your fault.
Your shoulders shook silently, as if you were crying— but no tears emerged, "I have to… I have to find Joel." Turning toward the door, Tommy caught you by your wrist: "I can't let you do that, hon. It's a damn death sentence." You tugged at your arm, desperate to break free from the restraint: "Let go of me, Tommy. I'm doin' this." Maria stepped forward, her hand resting at the base of your neck— "No, you're not. Jackson needs you here. I need you here."
Your breathing became labored. Deep down, you knew they were right— you were in no shape to travel across the country again. You'd barely survived it the first time. Chest heaving, your free hand found purchase on your throat, tightly grasping and constricting the airway. Tommy wearily let go of your wrist, his eyes wide and filled with fear. You ran for the door; you could hear Tommy call out for you as you fled homeward. Sarah was gone. Joel was alone.
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Days passed, and despite everything, the sun rose in the morning and the moon at night. You weren't quite sure how long it had been. You'd stopped counting daybreak after the first five came and went. Maria checked in after the first couple of days, worried that you hadn't been seen around town— or leaving your house, for that matter. Your grief was debilitating, all-consuming. You couldn't eat, could barely sleep, only finding relief at the bottom of a liquor bottle. You were tired… The kind of tired that sleep didn't fix.
Tommy came once. Sat and talked while you stared straight ahead at the empty wall. He could sense your anger, your resentment. How could he not? You silently judged him for leaving Joel, leaving his brother after his only daughter died in his arms. Tommy told you that Joel had changed. He wasn't the Joel you fell in love with; he'd done terrible things— But so had you. You'd killed innocent people, people who were just trying to protect themselves. And you did it in the name of finding Joel and Sarah, of surviving for them. You'd convinced yourself it was kill or be killed, and you had to live with that. Come judgment day, you'd pay greatly for your sins. You accepted that, too.
You only dared to look at Tommy's face once. You saw Joel in his eyes— you saw Sarah. Maybe if you hadn't left Joel in that alleyway, she'd still be alive. You could've protected her, taken the bullet for her. You would have, without hesitation. You'd cross the fiery pits of hell for her, reside in Caina, and be tortured for eternity. You may not have given birth to her, but Sarah was your daughter.
If you closed your eyes hard enough, you could faintly picture her smile. The dimples that formed just below her bottom lip. You could smell the faint aroma of her strawberry shampoo. Hear the broken remnants of her grandiose laughter. You swore to keep those memories someplace safe. Take them out and remember when you needed to, as if they were photographs.
A part of you wanted to be happy that she didn't suffer. She was too innocent for this new, heartless world. She was everything good in life. She was sunshine, sugary syrup, and pure, unadulterated love. But you could not accept this bright side. Not when it meant a life without her in it. Innocence is beautiful, but life is for living.
Tommy stood up, slipping a piece of paper on the nightstand. You cautiously turned it over to reveal a creased photo: You, Joel, and Sarah posing after winning one of her soccer games. You stole one last glance at Tommy. This time, he did not see blinding hatred in your gaze. Instead, he saw gratitude. As your glassy eyes bore into him, he nodded knowingly and left.
Maria came a couple of hours later with leftovers from the dining hall. Setting them on the counter next to the empty whiskey bottles displayed like pathetic trophies. You were in the same position as when Tommy left. You held the photo in your hands, thumbs stroking its frayed edges. Maria quietly dragged a chair closer to the bed, sitting just within arm's reach: "I went to a really dark place after I lost Kevin."
Tearing your gaze from the picture, one of her hands finds yours: "He made life worth living… It took me a long time to start to feel human again. To feel something other than pain and sorrow. The grief never goes away. But slowly, it starts to feel less like loss, and more like love." She inhaled shakily, "I know what you're feeling right now. I know why you're drowning your sorrows in that shit, trying to drink yourself to death." A tear slips down your face, her hand squeezing yours gently: "But you have to understand… What you're feeling right now, that's love. You're not a bad person for how you try to kill your sadness. But it's not gonna work."
You're unable to contain the choked sob that escapes your throat. The tears come harshly, scorching saline against your skin. Maria shifts her weight from the chair onto the bed, holding your shaking frame: "It's okay… Let it out." Her hands cradle your head, smoothing over your disheveled hair. "It's all my fault," you gasp between sobs, "I never should've left them. It's all my fault." Maria shushes you, "No, honey. You don't really believe that. You want someone to blame, but you're not that person."
Eventually, the tears cease. Your breathing evened out as Maria held you, "I miss Joel, so fucking much." You could feel Maria nod tenderly, "I know Honey." A lone tear slipped down your cheek, "Do you think— do you think he'll find me?" Maria pulled away, her chestnut eyes meeting yours, "Truthfully, I don't know." With a deep sigh, she squeezed your hand— "But I know he wouldn't want you to live like this. Isolating yourself from everyone else. You're allowed to grieve, but please don't shut me out. You're my person." You clutch her hands, squeezing firmly: "Even at my worst?" Her arms curled around your torso once again, "Even at your worst."
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The warmer seasons passed with haste. A wintertide blanket of white gradually covered Jackson. Day by day, Maria and Tommy were able to pull you out of your depressive stupor. You had to admit, they made quite the team. Maria was ultimately right, Joel wouldn't want you to spend the rest of your life a bedridden drunkard. But still, life without him was arduous. There wasn't a day that passed that you didn't think of Joel Miller. About where he was, what he was doing, who he was with, and whether he missed you as terribly as you did him.
As much as you wished to focus on these melancholic thoughts, new developments began to bloom in Jackson. Tommy and Maria's blossoming love was hard to ignore and impossible to disapprove of. Watching two people whom you adored fall in love, it felt as though nothing had changed: No cordyceps, no raiders, just Jackson and all of its inhabitants. Perhaps you could find peace in that. When Maria told you that they were expecting, you were over the moon. Maria and Tommy deserved it, Jackson deserved it. Proof that the world is not over— that no matter the circumstances, mankind will prevail.
You threw together a small wedding ceremony with the help of the florist and local bakery, the couple wanting to tie the knot before the baby's arrival. Joking about how "shotgun weddings" withstood the test of time. Something arose in you, a pang of jealousy— Envious that you and Joel never got the perfect white wedding. It disgusted you, so you buried it deep within the recesses of your heart.
The winter was hard, the Wyoming chill threatening every crop that dared to sprout from the Earth. This resulted in you spending extra time in the greenhouse. You found gardening to be a rather soothing task, being able to nurture new life in a world marked by death and decay. It also provided plenty of time to think: Something that you did not relish. No matter how many times you pushed the thought of Joel away, it always returned. Whether it was at dawn or late at night plaguing your dreams.
When you weren't at Tommy and Maria's house or at the Tipsy Bison, you were in the greenhouse. The small shack sat right on the outskirts of town, situated with the perfect view of downtown Jackson. The glass panes shut out the cold, trapping any warmth inside. You bathed in the basking glow of the sun, gravitating towards it as a Sunflower would. You weren't sure when thoughts of Sarah became joyous, memories no longer met with choked cries but instead with soft chuckles. Nonetheless, you welcomed the growth. It's how she would want you to remember her.
You watched the clock that hung just above the door, a mere estimation of the time: 12:15 p.m. You carefully removed your dirt-caked gloves, setting them on the wooden bench beside you. Your stomach growled impatiently as you began the journey downtown. The air was frigid despite the sun's rays, the cold slowly numbing your fingers. As you ambled towards town, Stanley came jogging towards you: "Hey! Just got word from the gates that Maria's back. Brought some stragglers, two, I think."
You nodded in his direction, "Alright. Thanks, Stan." The soft crunch of snow beneath your feet accompanied you as you approached downtown Jackson, an air of excitement and uncertainty radiating off of the townsfolk. It wasn't every day that Jackson came across people who weren't just blood-thirsty raiders looking for valuables. As you rounded a corner, you overheard a commotion, the sound of yelling. Strangely, it didn't sound angry or fearful. It sounded... happy.
Midtown came into view; the construction that was being worked on was now abandoned. Immediately, your gaze fixed on two figures in the middle of the street embracing. That was... not typical. You could make one man out to be Tommy; his black curls contrasted starkly against his warm taupe skin. The other was taller and broader, his hair disheveled and graying. Behind them you could make out Maria on horseback, next to her was a young girl, who couldn't be older than thirteen.
Maria's expression was borderline unreadable, a mixture of trepidation and relief. Until her eyes met yours, then her face softened. A look of tenderness emerged. Everything about this situation puzzled you— Until the two figures broke apart. The man stood inches from Tommy, his hands gripping Tommy's shoulders firmly. His face was sunken with exhaustion and hunger; a vast smile overtook his face. A smile you would recognize anywhere.
He looked just as he had twenty years ago, only now his hair was significantly longer and his beard gray. His face was now littered with wrinkles, just as yours was. A telltale sign that time had, in fact, passed, that the world fell apart right in front of your eyes. Your fingers dug into your thigh. You surely would've drawn blood if not for the layer of denim protecting your skin. You knew you were grieving, but hallucinations seemed extreme. You took a hesitant step forward, still on the opposite end of the street.
Maria beckoned for you. Your name seemingly catching Tommy's attention as he turned towards you. As the men stood side-by-side, it was impossible to deny. Their likeness evoked something in you— realization. You weren't dreaming, you weren't hallucinating. He was there, just a yard away: Joel Miller. His gaze found yours, eyes searching your face in disbelief. Your name left his mouth like a question, but it sounded like a prayer.
He stepped forward as if he was testing the waters. You repeated his action, "Joel?" A smile broke across his face once again, causing you to break into a sprint. He jogged forward, careful not to slip on the icy gravel. Tears began streaming down your face, their warmth countering the icy chill. Before you could slow down, your body collided with his. His arms were tense, his hold fastening around you. You'd only dreamt of this moment for two decades.
You weren't sure how long you stood like that. Head nestled firmly against his chest, tears staining his leather coat. His gloved fingers gently grasped your chin, pulling your face from its sanctuary: "Baby... Fuck, I can't believe it." His eyes searched your face for any sign of unease. He could find nothing but pure joy: "You found me. I searched for you, Joel Miller, for 16 years. And you found me."
Joel let out a breathy chuckle, cut off as you captured his lips in a velvety kiss. At first, it was chaste.— A silent admission of consolation, twenty years in the making. You ran your tongue across his bottom lip, prompting him to groan as he opened his mouth to deepen the kiss. After a moment, a loud cough erupted from behind you. You reluctantly pull away, your forehead resting against his. Your hands cupped his cheeks, eyes glassy with relief and adoration: "After all this time?" Joel leans forward to place a gentle kiss on the corner of your mouth, "Would wait forever f'you, Darlin'."
© 2023 fragilefable do not plagiarize, translate, or repost my writing to any other site.
divider by @saradika
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The Radio Times magazine from the 29 July-04 August 2023 :)
THE SECOND COMING
How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?
For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.
This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.
Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.
Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”
Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).
It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.
A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.
There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.
In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.
"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."
Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.
Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."
He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.
And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.
After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."
While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS
DIVINE DUO
An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise
Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."
Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.
It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."
Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.
Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?
David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!
Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.
There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.
David: Nothing's explicit.
Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.
There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?
David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.
Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?
Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.
David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?
David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.
Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!
David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"
How do you feel about your US peers going on strike?
David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.
Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible
Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?
David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!
Michael: I don't think we were thinking beyond three, were we?
So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?
David: Oh, never say never, will we?
Michael: And it's more Hinge and Bracket.
David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN
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I Know Best
Masterlist
Pairing: Wanda Maximoff x fem!reader
Summary: You decide to misbehave at the same time Wanda's home is threatened and she's pissed about it. (rewrite of WandaVision, episode 5)
Warnings: 18+ ONLY, mean mommy Wanda (but soft later), dom/sub dynamics, smut: punishment by overstimulation (and crying as a result), wanda uses her powers for evil 🤭, fingering
A/N: so not following the decades thing entirely because Wanda looks the same as she did in present day but she does change into her Scarlet Witch fit when she feels threatened 👀 anyway enjoy!
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It wasn’t often that you went against Wanda’s rules.
You very well knew the consequences of doing so, and truthfully you’d gotten so used to her loving guidance and control of things that you wouldn’t dare go back. That control extended to how and when you touched yourself, which happened to be the very rule you’re breaking now.
You were watching a movie on Netflix that wasn’t in English, but you weren’t paying much attention to the subtitles anyway when the two women appeared on screen, hands all over each other. It reminded you of many passion filled nights with your love, and it was that reminder that caused your mind (and hands) to wander.
“What do you think you’re doing?”
The voice comes from behind the couch where you currently have your fingers tucked in your underwear beneath a blanket. Without giving you a chance to answer, the blanket is lifted and your hand is ripped away from your body entirely with your wrist in Wanda’s unrelenting grip.
“I left you alone for an hour. If you need something, you ask me,” she practically growls in your ear, chuckling when she notices you’re shaking. “Oh darling, don’t get scared now. You know better and I know best.”
Before she can say anything else, you both hear what sounds like a plane coming in from outside, which instantly makes her stand up fully and rush to the door. She warns you to stay inside and magically locks the door behind herself as she exits. You rush to the peephole just in time to catch her taking down a drone, grabbing it from the ground and flying off toward the edge of town.
“Is this yours?” Wanda challenged as she tossed the drone toward Hayward, nearly taking him down in the process.
“The missile was just a precaution. You can hardly blame us, Wanda.”
“Oh I think I can,” she replies, a crimson color building in the center of her eyes. “This will be your only warning. Stay out of my home. You don’t bother me, and I don’t bother you.”
“I wish it could be that simple. You’ve taken an entire town hostage.”
Wanda decides to humor the agents by going back and forth with them despite being pissed beyond belief that she was interrupted, even allowing Monica to talk about being an ally before turning them all against each other and making her escape. Despite making her way back into town, her protective attire doesn’t change back to the comfy cleaning clothes she left in. It sticks to her like the anger from any kind of intrusion to her new home and your sudden disobedience all in the same minute.
“Wanda, what was that?” you immediately question when she opens the door, standing up and immediately feeling the urge to sit down again when you make eye contact. “Mommy?”
Wanda doesn’t answer you as she approaches but instead starts ripping your clothing from your body, waiting until you’re fully exposed to push you back down onto the couch. She forces your legs open as wide as they can go, not even smiling this time when she notices your shaking underneath her.
“You want to cum so bad that you couldn’t wait to ask? Fine. Let’s make you cum, slut.”
She delivers a loud slap to your exposed pussy that draws an embarrassed whimper from you, even more so when you realize just how turned on this encounter has made you despite everything. You know she’s well aware of this when she suddenly plunges two fingers inside of you quite easily, but you don’t expect the red mist surrounding her hand and the strong vibration that follows.
“What’s the matter?” Wanda questions with false sympathy as she watches you toss your head back against the couch. “Can’t take Mommy’s fingers suddenly?”
“I can t-take it,” you mumble between gasps and moans.
“Say that again?”
“I said–ah!”
You cry out again as she firmly places her free hand over your clit, more red mist and vibration now surrounding the entire area. You’re bucking your hips and clenching muscles, having barely enough time to even ask to cum this time before you reach your peak. You expect her to stop then, but she keeps everything going without letting up even as you try to squirm away from her.
“No, don’t fucking fight it now. You wanted this.”
She uses her elbows to force your legs back open as they threaten to box her in, and it seems that she only strengthens the vibration each time your body jerks away until you finally give up and take it all.
“Mommy please,” you beg however many orgasms later, coughing hard suddenly while tears continuously stream from the corner of your eyes and down past your ears.
“Had enough?” Wanda questions unnecessarily while subtly lowering the strength of the vibration, taking a bit of pity on you despite the way she enjoys your clenching walls around her fingers.
“Mm.”
“Use your words!” she threatens while bringing the vibration up and you let out a surprised squeak.
“Yes, Mommy! I’ve had enough!”
“Good girl.”
The vibration declines steadily as the red mist fades, but the aftershocks are very much present even as Wanda calmly pulls out of you. Her fingers slide into your mouth and you clean them with as little effort as possible, not even flinching when she pulls you further onto the damp spot underneath you on the couch.
“What will you do next time you want to touch?”
“Ask Mommy,” you reply drowsily, feeling pleased when she places a hand on either side of your jaw and kisses your forehead. “Thank you, Mommy.”
“You’re welcome, angel. Come on, you know what we have to do.”
Wanda rises to her feet first and attempts to bring you up with her, although it takes much more effort than either of you expected. Soft laughter is passed between you until you finally complete the task, and she leads you over to the downstairs bathroom before carefully lowering you onto the toilet. When you open your eyes again, she’s in front of you with a cup of water, gently coaxing you to drink.
Once you’re cleaned up, tucked into bed with your favorite sleep show playing quietly and passed out, Wanda makes her way back to the living room. She cleans up the couch and straightens a few more things before locking up her home and heading over to her closest neighbor.
“Hello again, Agnes,” Wanda greets her glassy-eyed companion with a knowing smile. “I’m going to need your help with something.”
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