Asked by fiveyearmission
9. a passage from a WIP
my absolute favorite thing about this is how i didn’t even need to check what #9 was. s-sob.
BACKSTORY: so one time i told @fiveyearmission i would write her a dragon age 2 / teen wolf crossover where scott is hawke and stiles is anders and derek is fenris and then i wrote maybe 3K of it and fell off the map. i am the worst and she is the best. she has probably read this part. one day i will write more. ugh it’s such a good idea tho. /ego
Stiles ostensibly owns the clinic, but given he’d found the building empty, set up shop only when no one turned up at its door after half a month as he squatted, he’s not sure “own” is the right word. Occupies, maybe. Definitely runs.
He hadn’t intended to work his days in a backroom, some poor sod laid out on the oak table under his fingers, but it ferreted out the gaping feeling of futility that’s eaten at his chest since he touched down in Kirkwall, came back after he got tired of Antiva’s seething underbelly, Ferelden’s stalwart march towards self-destruction. Kirkwall is home, for all it’s a roiling cesspit of political corruption and skewed morals, and this decaying building in Darktown is his corner of it, where he can lay his hands across a wheezing girl, her body not letting her body breathe enough to live, and widen the pathways inside. Let her inhale freely for the first time in months.
So he plays at healer. The magic he’s known since he was a child, that’s lived with him and grown with him until it’s filled his six foot frame, has a purpose — even if at the end of the day he longs for a fight, to throw up his hands and summmon fire and acid from the Fade.
Healers, though. People are less wary of an unshackled mage who fixes coughs and broken bones. He has a reputation, he knows, but it isn’t one that brings the authorities down on him. No one wants to stop the kindly young man who helped Aunt Myrtle’s joints.
Of course, it all goes to hell.
The young man who arrives at his clinic has a frigging circus troupe with him, the whole of them clad in mottled armor and bruised leather, humans and dwarves and an elf, Andraste’s tits, who Stiles can sense is wrong — or maybe that’s just the lines of crystalline blue running along the man’s veins, lyrium, magic forced into his skin by someone with fewer morals than Stiles.
The leader though — de facto, he’s not got anything up his sleeves aside from brute force, a broadsword strapped to his back — throws Stiles off when what comes out of his mouth is… nice.
"We’ve heard a lot about you. It’s hard not to, running around Darktown. You’ve been doing a lot of good." The guy pulls off one of his gloves, sticks his hand out. "I’m Scott."
Stiles looks at his outstretched hand, and then at his motley crew of weirdos. He doesn’t have a gift of sight, not even with the tricks he’s got up his sleeve (the Trick, really, capital T), but he can tell this is going to be a thing. He’s not going to be Darktown’s semi-anonymous healer anymore: nobody comes tromping around Darktown geared for Qunari without having big dreams to pay for it…
He thinks of the people outside the clinic, how everyone he helps is just one person, singular, individual, and he thinks about his mom, her eyes dead and gentle, and he thinks to hell with it, and shakes Scott’s hand.
@ thatsnarkydragon : oh, man, I have now giffed these scenes so many times, and I still want to cry about it. To add something new, here’s my painstakingly done transcription of the audio commentary for these scenes:
John Rogers: Now, this was interesting. We had a long talk in the writers’ room what this scene was gonna be. Because it is “why hasn’t –” because, let’s face it. Aldis, you’re a good looking man. You’re a very good looking man.
Aldis Hodge: Thank you.
JR: And, Beth, good looking woman. Why has that relationship not progressed farther, you know? And we wanted to not just do the hackneyed “because she was abused as a child,” because, you know, and so we really wanted to work on “why?” And it’s because she doesn’t feel worthy of the friends she’s made and the family she has.
JR: And a lot of this year is her feeling good enough about herself and feeling like she’s a good enough person to be with.
AH: You know, John, Sexual Chocolate gets a lot of mail about that, you know what I’m saying? It’s true, and I gotta figure out how to explain it.
JR: I know. I know. Boss of Sexual Chocolate also gets a lot of mail about that.
AH: Just saying.
JR: But look at this woman, look at this woman!
AH: That’s ridiculous.
JR: I mean, she’s melting down here. And, by the way, when we’re shooting this? Crew is crying, people behind the set are crying, I mean, she’s just devastating here.
Dean Devlin: She nails this.
DD: It’s also this whole thing about she wants to do the right thing and trying to understand what the right thing is.
JR: That’s what’s great about Parker and what we so lucked into establishing this character first year and that Beth has done a great job of. Most shows have someone who’s just trying to do the right thing, we actually have a character who’s not sure what that is yet. And so it allows us an extra step of that character building. I mean, you know, that’s why we have to go so slow. We don’t want to fastplay this. These are real people in our heads.
AH: Now, what was the motivation between, I mean, as far as putting Parker and Eliot together in that particular situation?
JR: Because, I’ll tell you exactly why, because this is the year Parker starts to figure out that she’s actually a “better person” – quote, unquote – than she thinks she is. And this is the scene, right here. Eliot, because of the events of last year, has come to peace with who he is. And this is the thing, Eliot isn’t trying to redeem himself. A lot of people think Eliot, “oh, he’s doing good things to redeem himself,” Eliot knows he’s going to hell. But he can do some good along the way. And he can help his friends. And that’s his role this year, is a man who is very secure in who he is and who he isn’t in the world. Beth’s previous scene is amazing. This is some great acting, Christian is killing it here. Because what he has to do is he has to reach across this gulf, and, by the way, it only happened because of the way Christian and Beth have played this over the years. Eliot and Parker have a very specific relationship, it’s not brother/sister, it’s not boyfriend/girlfriend, but it is “I know the pain you’re carrying, because I carry a version of it.” And Eliot, at a lot of times, is the only one who can reach across to her, across that gulf, and in that moment, there’s no crying, it’s not showy, Christian acts the shit out of that moment. That is one of the keystone moments of the entire season right there.
Lol (Lots of Love) based on this post
Taking a small break from work and commissions because last week was exhausting (fun, but exhausting) so I need to recharge, and I couldn’t resist o<-<!!
I hope it’s clear to read;;
Our visit to the Captain America showcase yesterday must have made an impression on my 4-year-old daughter. Today she asked me, “Mama, I want to dress up as Winter Soldier.” Girl, you don’t have to ask me twice!!
So, a disposable face mask, a black crayon, some tin foil and 10 minutes later…