JUDIT MINOT — You open the door of the shack to find a very startled patrol officer standing on your doorstep, hand raised as if to knock.
PERCEPTION (Sight) — No, wait. She’s not here as a patrol officer. She isn’t in uniform, or even plainclothes bearing the RCM insignia. Just a simple white shirt and slacks.
COMPOSURE — She’s frozen, at a total loss for what to say now that she’s face to face with you.
HALF LIGHT — She’s bracing herself for an onslaught of anger.
EMPATHY — She feels that she deserves it.
Say nothing. Just walk calmly past her.
Slam the door right in her face.
“What are *you* doing here? Come to see if I kicked the bucket yet?”
“Go away. I don’t want to talk to you.”
“You came back for me! I *knew* you would! You guys would never just abandon me!”
Stare back, equally lost.
“…Hi.”
JUDIT MINOT — “Hi…”
She swallows hard, eyes flitting from your cold-stung cheeks to your shadowed eyes, and then down to the sleeve of your blazer, where Isobel has done her best to repair the damage from you ripping off the halogen watermark. Her gaze lingers there for a moment, then returns to your eyes.
COMPOSURE — Strangely, she looks just a little more at ease.
JUDIT MINOT — “Harry, I…” Her voice trails off. She closes her eyes and takes a quiet breath.
“Do you want me to take you home?”
“You mean back to the precinct?”
“You mean back to my place in Jamrock?”
JUDIT MINOT — She nods. “You weren’t there when I went to check on you, so I figured you must still be stuck here…”
DRAMA — She knew exactly where you would be, sire. It just made her feel less guilty to hope that you had made it back home on your own.
EMPATHY — She came back to try to make things right.
“Go to hell, Judit. I don’t need you or anybody else.”
“Don’t worry about me. Unlike back at the precinct, the people here actually *care* about me.”
“No. I want to stay here. I never want to go back to where I was before.”
“Yes, please, take me home. I don’t want to be lost anymore. I want to go home…”
“I know I have to go back eventually, but… I’m not ready yet.”
JUDIT MINOT — She nods slowly, her gaze falling to the creaking planks under her feet.
“Is there… anything you want me to bring you, then? Something from home? Or… anything?”
EMPATHY — She wants to do *something* for you. Whether for your sake or to assuage her guilt, who can say?
“I don’t need anything from you.”
“No, please, don’t bring me anything from home. I don’t want to see. I don’t want to remember…”
“I wouldn’t even know what to ask for. I can’t remember anything about home at all.”
“Thanks, but I’m okay, Jude.”
VOLITION — As you say the words, you’re surprised to find that you really mean them. You’re content and cared for here in Martinaise. You get the feeling that it’s been a long time since you felt this way.
+1 MORALE
JUDIT MINOT — “…Okay,” she says quietly. “I’m glad, Harry.”
EMPATHY — She means it, too.
JUDIT MINOT — With a pursed smile and a nod, she turns on her heel to leave.
REACTION SPEED — If you leave it at this, she’s not going to come back to bother you again.
Let her go.
“Hey, I was just about to go fishing. Do you want to come with me?”
JUDIT MINOT — She falters to a stop. “Fishing…?”
YOU — “Fishing. For tonight’s dinner. You could stay and eat with us, if you want.”
JUDIT MINOT — For a moment, she hesitates. Her expression is strange as she looks at you, both of you standing upon some kind of threshold.
EMPATHY — She’s afraid of something, but even she doesn’t know what. Some line she’s toeing, unsure of whether she can bring herself to cross it.
JUDIT MINOT — And then the moment passes. Judit nods briskly. “Sure. There are some… some things I’d like to talk with you about.”
“I’d rather not. Fishing is more of a contemplate-life-in-silence kind of pastime.”
“Sure. We can talk.”
JUDIT MINOT — She just nods again, her expression difficult to parse.
And then you are walking toward the shore together, side by side, in a way you’re certain you must have done before, but never quite like this.
Snow crunches softly under the worn work boots a dock worker passed down to you. You adjust the collar of your polar anorak, a precious secret between you and Martinaise. And Judit follows in silence, her eyes dark beneath her furrowed brow.
EMPATHY — She doesn’t know what to make of your unfamiliar shape.
VOLITION — That’s good. That means you’re changing.
JUDIT MINOT — “I resigned.”
The words come out sudden and ungraceful. She grimaces at herself, pulling her coat more tightly around her shoulders.
AUTHORITY — Resigned?! My god, man, what have you done? Not only have you ruined *your* career, but your subordinates’ careers, too!
VOLITION — Don’t be so self-absorbed. Let her tell her own story.
“…From the task force?”
“…From the RCM?”
JUDIT MINOT — She shakes her head slowly.
“I quit, Harry. I’m not with the RCM anymore.”
“Oh, god. I’m so sorry. This is all my fault.”
“Good. Fuck the police.”
“Hell yeah. Unemployment buddies.” [Hold your hand out for an Ace’s High.]
“Are you gonna be okay? What about your kids?”
“I don’t know what to say…”
JUDIT MINOT — “You don’t have to say anything. I’m… I’m the one who should be apologizing to you.”
She looks down at her feet as she walks. She’s still wearing the same shoes she wore to work every day. “I’m sorry for leaving you here.”
PAIN THRESHOLD — A hard lump rises in your throat. It’s hard to breathe around it. It hurts just to think about that day— watching your world turn its back on you.
VOLITION — But then a new world opened its arms to you. You survived it.
EMPATHY — She was afraid that you *wouldn’t* survive. That she would open that shack door and find your corpse.
“Thank you for apologizing. It means a lot.”
“It’s fine. I don’t care anymore.”
“It’s okay. It actually kind of ended up being the best thing that ever happened to me.”
“Keep your apologies. I don’t need them.”
“You’re not the one who should have to take responsibility…”
JUDIT MINOT — “No! No, that’s not why I— I mean, it *is,* but not like— Oh, hell…” The former patrol officer pinches the bridge of her nose, letting out a crystalline sigh. “It’s not just about that, Harry…”
ESPIRIT DE CORPS — *No one* was going to take responsibility for what was done to you. No one was *expected* to. She doesn’t have the heart to explain this.
JUDIT MINOT — “I didn’t do it to take a fall for you or Jean, or… anything like that. I just…”
Her eyes are glassy and sunken as she stares out at the sea.
HALF LIGHT — Like those of a corpse.
JUDIT MINOT — “I think I hate myself,” she says flatly. “I don’t want to be like this anymore.”
ESPIRIT DE CORPS — Looking away as Joseph Mills made yet another “joke” about the women in their custody. Looking away from hands making exchanges under the table. Looking away with little more than weary sighs and toothless protests. Turning her children’s eyes shamefully away from herself and her peers.
Looking away from Lieutenant Kitsuragi’s anger in the hospital. Looking away from you, bleeding in the cold.
JUDIT MINOT — “I took responsibility for myself, and only myself. That’s all.”
“That’s all anyone can do.”
“It’s too late for that. For either of us.”
“Still, I’m sorry. I know I really made a mess of things…”
JUDIT MINOT — “It’s okay, Harry.” She smiles awkwardly and reaches out to pat your arm. “I know you didn’t mean for things to turn out like this.”
AUTHORITY — Is that… *condescension,* I hear?
ESPIRIT DE CORPS — You can’t be blamed, she thinks. Not entirely, anyway. You’re not well. You need help.
“Thanks, Judit.”
“No. I *did* mean for this to happen.”
JUDIT MINOT — Her mouth parts in surprise. “Excuse me…?”
“This was all part of the plan. You can’t even *comprehend* the plan. I’m fifty steps ahead of you and everybody else. Everything is *totally* under control.”
“I’m a jackass who wanted to blow my life to smithereens and get anyone dumb enough to be close to me caught in the crossfire. I may not remember, but I can put two and two together.”
“I *wanted* to be left behind to die. That’s why I pushed you guys out of Martinaise in the first place, isn’t it? I wanted to feel miserable and alone enough to finally just kill myself.”
JUDIT MINOT — Her face twists with grief and discomfort for just a moment. “Harry…”
YOU — “Don’t treat me like a child, Jude. The choices I’ve made are mine, and I can take responsibility for them, too. Or even be okay with them.”
JUDIT MINOT — Her mouth flattens into a thin line. Her eyes fall back to her boots. Snow dusts her hair and the shocks of white make her look older.
EMPATHY — It’s less of a struggle for her when she thinks of you as hapless. Easier to *forgive* you. But harder, perhaps, to see you as a peer. She has never realized this before.
She does not like herself any better from this perspective, looking in from a newly discovered outside. But she swallows her pride.
JUDIT MINOT — “…You’re right,” she says quietly. “Sorry.”
YOU — “…It’s okay.”
FISHING VILLAGE — A more comfortable silence falls over the two of you as you trudge onward toward the shore. Shafts of pale sunlight occasionally pierce through the clouds, glinting off the snow and dazzling your eyes.
ESPIRIT DE CORPS — Sunrise, Parabellum.
CONCEPTUALIZATION — Your great big lives start today.
217 notes
·
View notes
Six months before the battle of Sokovia, Bruce had sought professional help for his PTSD, but then he was retraumatized during a routine mission with the Avengers. In consequence, his body started to reject his normal form in favour of his transformed one, which caused discomfort whenever he was in his normal form. He felt tense and off, like he was in the wrong skin, and he began favouring his transformed state. This drew the concern of Natasha Romanoff, who discovered a method to help him revert without discomfort. She called it the "lullaby".
During the lullaby, Natasha rested her hand against Bruce's own, and she spoke softly and quietly to him. This made him feel more relaxed, and therefore more comfortable and willing to revert.
🚨 This post discusses gender biases associated with abuse and trauma.
🚫 Please do not reblog this post.
I. Why Natasha Romanoff?
Among Bruce's teammates, Natasha was the only person who could perform the lullaby on him. This wasn't because he liked or loved her, though. He appreciated her as a teammate and found her amicable, but if Bruce liking someone was the only requirement for the lullaby, it would have worked with his other teammates too, and this was not the case. Rather, Bruce has always been more comfortable around people who present as women, especially when it comes to conflicts and confrontations. His father was abusive, and confrontations with him never ended soundly, so Bruce becomes uncomfortable during disagreements with other men now. There's an internalized association with Brian's abuse. This intensifies when he's in a transformed state. When he initially refused to revert and his teammates tried reasoning with him, he was hostile to everyone but Natasha, partly because of the above association.
Natasha’s behaviour was another reason for Bruce's favourable response. She'd been observing him and noticed he wasn't receptive to his other teammates, so she tried a drastically different approach that was calmer and way more passive, using her knack for psychological manipulation to accomplish it without coming across as fraudulent. Natasha spoke quietly and encouragingly, and she reached out and made physical contact with Bruce as well, which his teammates had not done. It was a strategic move, and it paid off better than she expected. Bruce did not pull away or fight her, and he soon reverted. Unbeknownst to Natasha, when Bruce was still a boy, his mother often held his hand and spoke gently to comfort him, which Natasha had mirrored. Just like his other association, this association was stronger in his transformed state, too. Natasha understood her actions had been successful, and this became the lullaby.
II. Bruce’s Thoughts.
Bruce never considered the above reasons for the lullaby’s success, even after it was retired. Instead, he credited its success to Natasha merely being clever, and knowing enough tactics from her years of espionage (and interrogation) that she could easily find something that worked with him. Bruce never knew there was a personal component to it, or that it harkened back to his childhood, and he never knew other people would've reacted differently, and been more resistant to what she did.
Despite the lullaby's success and convenience for both Bruce and the Avengers, Bruce had mixed feelings about it. He was appreciative of its existence, because it served an important purpose and it was even therapeutic in a sense, though he had always been an extremely self-reliant person, and the lullaby made it difficult not to feel dependent on Natasha. He was frustrated that he was losing control of his body in the first place too, moreso because it reminded him of the issues he'd previously had with his condition. There was a lot of uncertainty. The lullaby was indeed useful in the moment, but he dreaded the thought of needing it down the road.
Bruce's reversion issues were ultimately a result of his PTSD relapse, which was successfully treated with medication once he returned from Fiji. Bruce had not considered medication before this, because his discomfort was exclusive to his normal form and didn't affect his transformed state, so he believed the problem was directly related to his condition, rather than his mental health. He had been very confident in his recovery up to that point, and even after the last disastrous mission, he never thought it was significant enough to impede him that much. If he'd asked his teammates for input, especially Tony, who also had PTSD, he may have gained more perspective, but he was reticent about his personal issues and never bothered.
III. The Lullaby Nowadays.
Natasha Romanoff is no longer around in Bruce's most recent verse, because she had died during the team's search for the infinity stones. However, if she were still around, the lullaby probably wouldn't work anymore. There was a moment during the battle of Sokovia where Bruce wanted to sit out the fight, because of certain concerns with his condition, but Natasha forced him to fight anyways. Bruce still respects Natasha as a tactical expert, and part of him understands why she used him like this, but her actions in Sokovia created new associations that counteract how the lullaby worked. Bruce never fully regained his trust in her, and this would render the lullaby ineffective now.
IV. Where was Hulk?
Simply put, Hulk was still a dormant and passive personality in the system. He couldn't front at the time, because he still hadn't developed enough for it. This finally happened during the Johannesburg incident, six months later, when the conditions were right. Not only was Bruce forced to relive his childhood trauma because of Wanda Maximoff's hex, but he transformed when this happened as well, a process that effectively puts him into a developmental state (which also put Hulk's own development back into the blender). Before the Johannesburg incident, Hulk was around in an imperceptible capacity, but he wouldn't have been able to front or influence Bruce.
Disclaimer: The content in this post is unique to this adaptation of Bruce Banner. Feel free to like, but please don’t reblog without permission.
3 notes
·
View notes