✺ (1/22) ✺ @jegulus-microfic prompt: cry — 1130 words (jegulus dads ft. harry; getting in trouble at school - but he’s got a real good reason, your honor)
Regulus hangs up his phone with a huff, pushing up from his desk chair to head up the hall to the living room. “James?”
“Yes, my love?” James calls back. He turns from folding laundry into piles on the sofa and frowns when he clocks the tension in Regulus’ face. “What could I have possibly done?”
“It’s not you, it’s your son,” Regulus mutters.
“My son?” James’ brows shoot upward.
“He’s your son when he gets into trouble.”
“I resent that.”
“Resemble it, more like.” Regulus rolls his eyes. “I just got off the phone with Pandora. She got a call from Harry’s school about him being in principal McGonagall’s office because of an altercation with another student.”
James blinks. “They’re five, what does that even look like?”
“Well, we’ll be finding out shortly, because we have to go pick him up. Lily’s got their car and she’s at work.” Regulus shakes his head as he goes to retrieve his coat from the peg inside the front door.
“Hey, hang on.” James grabs him gently by the elbow to get him to look at him. “I’m sure it’s not a big deal.”
“He’s in the principal’s office at five years old, James.”
“That happened a time or a few when I was—” James cuts himself off when one dark eyebrow is arched at him pointedly. “Right, not helping my case. Look, it’s Harry. It’s probably just a big misunderstanding.”
James lifts both hands to grab Regulus by the jaw, towing him in to kiss his forehead a couple quick times. The corner of Regulus’ mouth ticks upward despite himself.
As it turns out, it’s not a misunderstanding.
Instead of looking guilty, Harry looks instantly defiant, arms crossed tight over his chest and chin tilted upward, when Regulus and James join him in the principal’s office.
“Have a seat.” Minerva McGonagall motions across her desk to the open chairs on either side of their son. “Harry, would you care to explain to your fathers why we’re here?”
Harry’s brow furrows as he lets out a huff. “I tackled someone in the sandbox.”
Regulus tilts his head. “Pardon?”
James cuts him a vaguely admonishing look before his focus returns to the child between them, expression softening. “What happened, mate?”
“He made Luna cry, daddy!” Harry whines. “He kept on pulling her hair and calling her Loony.”
Regulus whips toward McGonagall, glaring icily. “And where’s that boy?”
“He’s also been spoken to and picked up by his parents, mister Potter,” She tells him.
“That’s not all, either!” Harry interjects with a dramatic flail of his arms. “I went and told him he was being mean and to say sorry, but he said he was sorry to me ‘cause I have a weird family.”
“Alright, that’s not—” James’ mounting irritation gets cut off when McGonagall lifts a hand to halt him.
“Then he said his mum and dad are talking all the time about how papa’s gonna leave us all someday, and I got really mad so I tackled him and hit him.”
Oh.
Oh, that’s…
Regulus stares at Harry for a long moment, an unexpected pang in his chest. He didn’t know what to expect coming down to the school, hearing Harry’s story of what had occurred. He certainly had not assumed it had anything to do with him.
Harry is so like James, standing up for those he loves with everything he’s got. Even if it gets him into trouble.
Opening and closing his mouth twice, Regulus catches James’ eye. A small smile curls at his husband’s mouth, an odd cocktail of pride and sadness mixed in his hazel eyes. Regulus suddenly knows the feeling, complex as it is.
“I understand you were upset and looking out for your family, but you know you’re not supposed to hit people, mate,” James tells Harry.
“I know…” Harry mumbles, ducking his chin.
“If someone’s being mean, you tell a teacher, alright?”
“Yes, daddy…”
Regulus, lip pinched between his teeth, looks across the desk to find McGonagall’s eyes already on him. A strangely sympathetic look is offered to him from the older woman, but he ignores the twist it causes in his stomach.
Asks instead, “Is Luna alright?”
“I’ve spoken with her, as well, yes. Despite the issue, she said she’d like to finish her day as she usually does,” She confirms.
“Right, well, we’ll get this one home, then.” James claps his hands on his knees then pushes to stand. “So sorry, principal McGonagall.”
“Yeah, me too, sorry, principal McGonagall,” Harry mutters.
Harry shuffles off his chair to follow James on the way out of the office, Regulus grabbing his Spiderman backpack for him. He’s last to the door, which means the ‘mister Potter’ that’s called after them can only be for him. He turns with dark brows lifted, tries not to look too confused when McGonagall’s mouth twitches upward just barely.
“That’s quite the little boy you’ve got standing up for you, there,” She says.
Regulus glances back the other direction at where James and Harry are walking to the school’s main door hand in hand. His own small smile appears, throat tightening before he quietly clears it.
“Yeah, he’s really something,” He murmurs, turning back to the woman. “We’ll work on the hitting bit.”
“That’s good, yes,” She snorts, waving him off.
Regulus catches up to his family, falling into step on Harry’s other side. He makes it a point to ensure that he’s the one who helps Harry into the back of the car when they reach it. Keeps an eye on him pulling his seatbelt across himself on his booster while James settles in the driver’s seat, watching them in the rear view mirror.
Mind still reeling a bit with the turn of events, he can’t help but feel like he’s meant to say something.
“Harry, my darling, you—” Regulus twists his lips to the side as he runs a hand over Harry’s messy hair affectionately. “You know that I’m not really going anywhere, don’t you?”
“Of course, papa.” Harry nods surely. “I know you love us all too much.”
Regulus smiles faintly, nodding in return. “That’s my boy.”
He leans in to leave a kiss against the side of Harry’s head, double checks his seatbelt is secured appropriately, then closes the car door. When he drops into the passenger seat, he finds James looking over at him adoringly, a bright smile on his face. Wordlessly, he leans over the center console to press a lingering kiss to Regulus’ lips.
“Does this mean I can still have dessert after dinner tonight?” Harry asks from the back.
There’s a shared laugh between Regulus and James, two wide smiles pressed together now, before they finally separate to get on their way home.
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Only Friends: EP8 Sand & Ray's 'Never Friends' Scene
I wanted to do a deep dive into this scene, because it really exceeded my expectations. It sets the tone beautifully for Sand's current state of mind, and First delivers such a wonderful, nuanced performance here. Easily one of my favourite Ray/Sand interactions yet.
Sand is looking noticeably weary after witnessing Ray and Mew dancing in the bar. The poor boy just looks so tired and dejected, as if he's carrying the weight of the world on his shoulders. Unfortunately for him, the bar is where he works so he's not able to avoid being in a place Ray and Mew frequent together.
Ray approaches and tries to behave as he normally would. He asks to borrow Sand's lighter, a little call back to Episode 1. The camera lingers on Ray's reaction when Sand simply hands it over. Another nod to where Sand had lit his cigarette for him previously. A split second detail, a very clear message: 'It's not my role to take care of you anymore. You have someone else for that now'.
Sand being Sand, is still concerned about how Ray is doing and asks about his arm. They fall into a little routine patter before Sand gets straight to the point. I give him such kudos for doing this, for choosing not to skirt around the subject but confront it head on. Besides, it's not as if avoiding it is going to make it hurt any less. "So what's going on between you and Mew?" Sand frames it as a question, because he wants to hear it from Ray himself. It's the least he deserves. There's also a challenging air in the way Sand looks at Ray with his eyebrows slightly raised. 'Humor me. And don't lie.'
Ray looks visibly uncomfortable and hesitant. I do believe Ray exhibits a conscience where Sand is concerned. He at least has the decency to feel guilty. I think he was hoping they could continue 'as normal' for a little while longer, so he wouldn't have to tackle this difficult conversation. Ray's wordless reaction gives Sand all the confirmation he needs.
Before Ray has anything to say, Sand jumps in with, "Congrats, you're no longer in the friend zone." The way he says this feels 100% genuine. I do think that Sand wishes the best for Ray, because he's in exactly the same position as Ray once was - pining after someone who doesn't return his feelings. So he gets it. He can acknowledge how nice it must be for Ray to finally be reciprocated. This is an example of Sand's 'if you're happy, I'm happy for you' response, because it means the attention is deflected off him.
What Ray says next is also quite telling. He's says things are good but it's very early days, and they're essentially seeing how it goes. "It's okay." Note how Ray doesn't gush or seem particularly animated. A few brief but fairly non-descriptive comments. You'd expect him to be over the moon. I feel like this is Ray's attempt to be minimise the damage by downplaying things. He doesn't want to overly dwell or flaunt his happiness in Sand's face. I also believe there's a degree of honesty here, that Ray has some genuine reservations about Mew and their future as a couple, (that perhaps he's been trying to ignore).
The next few lines absolutely gutted me. "Good, you can finally end the secret crush. Such a waste of time, right?" 'Good for you, you're no longer suffering (like I am)'. When Sand talks about a waste of time, he's referring to himself. 'At least you no longer have to kill time with me, when you really wanted to be with Mew, what a relief that must be.' Sand is massively self-deprecating here. The time they spent together was not special. It didn't have the same meaning to Ray as it did to Sand. Everything he did was meaningless in context because he thinks Ray was simply 'settling for second best' in the meantime. Sand often uses this tone to imply his own foolishness. For continuing to care so much for Ray when he's getting nothing back.
Ray then asks "Are you okay?" I've noticed that when Ray poses this question, he's not really asking. He already knows or he wouldn't ask in the first place. He's basically saying, 'You're not okay but tell me why', allowing Sand to further divulge. However, Sand is never going to give a honest answer to that question. He's always putting on a brave face and pretending to be okay even when he clearly isn't.
Sand then comes back with his classic, "Why wouldn't I be?" "You're seeing someone you've always loved. It's a dream come true." Not a single thing Sand is saying is about his own feelings. His own pain. His own turmoil. He's purposely shifting the focus to Ray, 'well you're happy so I don't matter. It's your dream come true, so my feelings aren't part of this equation' - which just breaks my goddamn heart. 'Who cares what I feel or think about this. I get no say.'
Ray ponders for a second or two. You can tell he's at a loss as to how to salvage things with Sand without losing him completely. So he offers the next best thing he can, in order to still keep Sand around. "Can we still be friends?" Which means, 'I still want to spend time with you. I still want you to be part of my life'. And Ray's face is full of hopeful naïveté that Sand will agree (this boy really has no idea how agonising that would be). For Sand, this is like adding insult to injury. 'Friends' has no clear definition in Ray's terms, and Sand is wary of Ray's tendency to blur that line. So Ray asking him if they can still be friends doesn't really mean anything, which prompts Sand's "You and I have never been friends from the get-go". 'We need to stop fooling ourselves that what we were doing was ever friendship. I've woken up, you need to too'. Sand is not prepared to participate in muddying the waters, especially now Ray is dating someone. It's not fair to anyone involved.
"We have nothing in common. Besides, I don't know why I should be friends with you." This is probably the harshest thing Sand says in this entire conversation. He's very pointedly trying to create distance. Despite evidence to the contrary, he's alluding to differences between them that should justify that distance, justify him pulling away. Sand is just so resigned and matter of fact about all this because he knows there's nothing Ray can say to refute his thinking. It's all far too late anyway.
Ray displays a moment of slight panic and he's clearly thrown by this. 'It's not like that. Don't reduce it to that'. One thing we can be sure of is it upsets Ray to imagine no longer having any connection to Sand. This indicates to me that Ray does value Sand in his own way. Right now he just has no idea what he can offer to keep Sand close to him, because there is no legitimate reason for doing so since he now has Mew.
As a form of consolation, or perhaps a last ditch attempt to tug on Sand's heart strings, he admits, "but when I'm with you, I'm so damn happy." Ray means well by saying this, as in you make me happy. 'That's got to mean something, right?' But by phrasing it this way, it comes across as he's making this all about him. Sand is desperately searching for evidence to prove Ray does care about him, and he keeps coming up empty. He's run out of reasons to stick around anymore. And Ray's not saying the right things to prove him wrong.
Sand deflects again. '(So what if I might make you happy?) You'll be happy with Mew too. I'm nothing special. You'll get to spend time with him in the same way we did'. "You might even be happier," said with a smile no less. Another absolutely gut wrenching line. Sand's sadness clears briefly and he looks sincerely like he wishes Ray the best. It almost feels like a farewell of sorts. 'He'll make you happier than I did. Because I'm not good enough. I'm not what you want.' This is yet further indication that Sand doesn't think he's left any lasting impression on Ray. Whatever they shared with one another, Ray can easily replicate with Mew instead. He's easily replaceable.
Ray reaches out to stop Sand from walking away. Ray is conflicted. He feels regretful over Sand, which he shouldn't be feeling. He's worried that this time Sand is really slipping from his fingers, and there's nothing he can do about it. Because what's done is done. He chose Mew. So what else is there to say?
Sand follows up with, "Let me go already." 'Stop torturing me. Stop giving me false hope when you've already made your choice. Forget me so you can continue being happy and I can move on. Don't make this difficult for me.' Even in this line, I can hear Sand's care for Ray permeating through it. Sand knows he's isn't what Ray wants. He can make Ray happy but not happy enough to choose him. So the best he can do is to send Ray on his way, and to wish him well. All he asks is for Ray to return the favour, and leave him alone to heal. Akin to his addiction, Sand is telling Ray that he needs to let go from clinging to him like a crutch. Because the only purpose he serves is a crutch and nothing more.
He wants Ray to want him for him, and not as a safety net. Not because he provides Ray with some form of temporary comfort or company. Not because he's a means to pass the time.
Why I adore this scene so much is due to the enormous strength and kindness Sand displays here. He could have been much colder with Ray. He could have been petty, outraged, bitter, resentful. But you truly sense his helpless love for Ray throughout the entire interaction. He's still trying to deliver his message in the most considerate way he can manage. He firmly holds his ground but without any malice. 'The tragedy is I can't help but love you, despite what you've done to me'.
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