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The Social Network: the kink meme!

It's Complicated: But sexy!

zuckonitkinkeme zuckonitkinkeme wrote in tsn_kinkmeme
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quick note; GUYS. please be aware that if you posted a prompt in part six and it is now screened, i have posted them to the post already - so that you guys don't have to. thanks for being patient and making the fill-a-thon such a success!

sorry i didn't get much of delicious done; i lacked the internet over the break but rest assured i have absolutely nothing to do so will get it, hopefully.




IMPORTANT: please DO NOT post prompts about any non-public people as part of a prompt. for example: randi zuckerberg is fine as she is a public figure both on the internet and on facebook itself. priscilla chan is NOT as she is not a public figure.

if you're in doubt, please message the mod or leave a comment in the discussion post.

♥ post requests and responses in the comments to this post.
♥ be respectful.
♥ both a pairing/character AND a prompt/kink must be posted.
♥ one pairing/prompt per comment please.
♥ you are encouraged to try and write a prompt for every request you make.
♥ we are slash, femslash, het, three-and-moresomes etc. friendly. (we are even incest friendly what with some of our characters being twins and all...)
♥ no pairing bashing, OK? no need to wank over ships.
♥ long and short fics welcome. multiple responses encouraged!
♥ please try to refrain from saying 'seconded!' as much as possible.
♥ on RPF: Please disclaim that it is RPF, a work of fiction and in no way related to the actual actors/persons/etc. (i wouldn't even try and discourage RPF from this meme ;))


♥ alphabetize pairings/threesomes/moresomes. (e.g. Eduardo/Mark/Sean etc.)
♥ put [RPF] before RPF prompts. (e.g. [RPF] Andrew/Jesse)
♥ for crossover prompts: "[Crossover], The Social Network Character(s)/Other Character(s), [Fandom]" (e.g. [Crossover], Eduardo/Columbus, [Zombieland])
♥ no "!" in pairings, only in descriptions. (e.g. Eduardo/Mark, FacebookCreator!Eduardo, CFO!Mark)
♥ anyone, everyone, no one? Use "Other." (e.g. Sean/Other)
♥ put [GEN] before GEN prompts.


♥ please don't embed. link to images/videos.
♥ no locked material. this includes communities, even if membership is open.
♥ fills can be posted anonymously or not.
♥ fills can be anything: fic, art, vid, fanmix, podfic, etc.
♥ all prompts are open to fills at all times, even if they have been filled in the past or are being currently filled by someone else. multiple fills are positively encouraged; if something appeals to you then do not be put off creating a new fill by the existence of a prior one.
NEW: ♥ PLEASE comment with the first of your fill to the PROMPT and then all future updates as a comment to the FIRST PART of the fill. this makes it easier for both the WIP spreadhseet and for archiving stuff on delicious. it also helps people who are trying to catch up on updates and don't have to look through every fill on the prompt (should it have more than one). thank you.






have fun!

THERE WILL BE UNMARKED SPOILERS. enter at your own risk! :D


i know you guys are enjoying this meme and i appreciate that but please can you put the SUBJECT HEADER on your prompt. you would REALLY be helping me out if you could do that. it just saves time for me when i'm trying to tag everything in delicious.

AND PLEASE, PLEASE, PLEASE DO NOT repost prompts from parts three, four, five or six over here again. the delicious is around for people to find prompts they may not have already seen. (prompts for parts one and two are now up for reposting.)



[RPF] Andrew/Jesse

Jesse and Andrew are always saying they'd do anything to work with each other again, right? Well, maybe a new project finally comes their way, but this time their characters' relationship is a little more ...romantic. Was thinking it would be a nice slow burn of gradual 'realization', moving from friends to something more, but I'd love to see how any author interprets this idea!

If this is already done somewhere, please link!

FILL: If you can't be touched 1a/?

This is my first fic posted in years, my first fic in this fandom, my first RPF ever, and my first time posting fic to a kinkmeme. Soooo... be gentle with me? :D?

DISCLAIMER: this is a work of fiction. All the people in this story whose names you recognise belong to themselves and nothing like this has ever happened or ever will happen.

NOTE: for reasons that will quickly become clear, this fic will contain extensive discussion of, long-ish quotations from, and massive spoilers for James Baldwin's novel Giovanni's Room... but I figure 60-year-old novels that give away their endings three pages in are fair game as far as spoilers are concerned. (Read the book anyway, it's awesome!)


Andrew's agent hands him the script and tells him "It's an adaptation of Giovanni's Room," like that's supposed to mean something to him. He nods along for the rest of the explanation, paying enough attention to make some notes in his Moleskine:

rd bk 1st!!! dir Joe Wright loc Paris set '50s no points nxt BBM def. OB

"...cast yet, but your friend Jesse Eisenberg is interested," she says, and the pencil stills on the page.

He looks up. "Jesse?" he says, trying to fight the grin that he knows is about to spill all over his face. "Jesse's going to be in this?"

She smiles, a little smugly, and spreads her hands. "Not for sure. The grapevine says he's been asked, and he's interested, but he's not committed."

"I'll commit him!" Andrew says quickly. "I mean, I'll get him to commit himself. I mean -- you know what I mean."

"I know you both wanted to work together again -- "

"I hardly get to see him at all these days," Andrew says, and there's a whine in his voice and he knows his lips are forming into a pout but he doesn't care. He is suddenly, irrationally convinced that he and Jesse are going to make a film together for the second time, and it's going to be even better than the first one. It's going to be so good people will have to invent new words for how good a film can be.

Wendy's still smiling, but she's holding up her hand. "Okay, but there are cons to this project as well, and you should be aware of them before you make a decision."

"All right," he says, because even though he has definitely made his decision already (to make a film with Jesse or not to make a film with Jesse? pfft, like that's even a decision), he has to at least pretend he's a reflective adult sometimes, or Wendy gets nervous.

She holds up one finger. "The money is... not terrible, but it's not Spider-Man money, and you can get Spider-Man money, if you want it. There are other scripts with Spider-Man money attached, that you'd have to turn down to do this."

"I don't care. Next?"

She shakes her head, laughing a little, and holds up two fingers. "There's no guarantee that Jesse will be involved at all."

"Oh, I can persuade him. Anything else?"

She hesitates before holding up a third finger, then lowering her hand and leaning forward. "The story is kind of intense. I don't mean... you're a pro, and you've done some pretty gut-wrenching stuff. I don't think this would even be your saddest movie, though it's going to be pretty damned sad. I just wanted to make sure you know what you're signing up for, especially if Jesse really is involved."

He actually has to think about that one. Much as he loved working with Jesse on The Social Network, there were times when the gap between Eduardo's feelings and his own wasn't a gap so much as a crack that let everything leak through, leaving him confused and raw. He remembers the frustration of doing take after take after take when it wasn't working, wasn't happening, when he couldn't be Eduardo because there was Jesse across the table from him, looking just as precious and wonderful as ever; and the tension afterwards, all those times when he felt like this amazing thing he'd found with Jesse was going to shatter because his feelings were such a mess.

(Really, they're still a mess. A manageable mess, a mess he'd rather die than do without, but a mess all the same.)

FILL: If you can't be touched 1b/?

Still: "I can handle it," he says, because he handled it before. They handled it before. Tragedy, heartbreak, whatever: he's going to make a film with Jesse and it's going to be amazing.

It's only later, when he's flipping through the script and he gets to the first sex scene, that he starts to wonder if he maybe, possibly, should have given it more thought, because if he's going to playing the title role, the only role Jesse could be playing is David, and that means -- that means --

He looks back at the notes he doesn't remember writing.

nxt BBM def. OB

Next Brokeback Mountain. Definite Oscar bait.

It isn't just an adaptation of a classic American novel: it's a tragic gay love story.

Andrew drops the script and stares at it, an uncomfortable mixture of terror and elation running through his veins.

He's already said yes, and -- and it's too late to change his mind. Isn't it? Yes. Yes, it is. That decision's been made. No going back on it now.

In the blink of an eye, he makes two more decisions: he's going to get hold of the book and read it very, very thoroughly, several times, before the table read; and he's not going to call Jesse and badger him into taking the part, the way he planned to. It feels like that would be unfair, though he's not at all sure why.


Jesse's first reaction when he gets the script is to take down all the Baldwin books on his shelf and buy copies of the ones he doesn't already own.

(Actually, that's not true. His first reaction is to come up with a dozen reasons why he cannot possibly play this part, and a dozen increasingly elaborate scenarios of things that could go horribly wrong if he accepts it. His second reaction is to shout down the voices saying these things with a mental cry of IF YOU TURN THIS DOWN YOU WILL REGRET IT FOR THE REST OF YOUR LIFE, YOU IDIOT. His third reaction is to ask for a few days to think about it, because no matter how loud the shouting voice gets, the worried ones will never be completely drowned out.

This is how his brain works. It is sometimes exhausting.)

Over the next few days, he reads Another Country and Go Tell It On The Mountain and Notes of a Native Son, and he thinks he's got a handle on the period, kind of, as much as anyone born fifty years too late ever could; and then he starts reading Giovanni's Room itself over coffee, and halfway through it he nearly has a panic attack right there in the cafe.

He can't do this. The whole film would be about him -- or not him but his character, and he's... he can't. It's a tragedy, and he's never really done tragedy or anything even close to it, and...

Not that he couldn't play a man riven with self-loathing and alienated from his body. Those qualities are not so very far from his own default state, after all. If anything, that very closeness is what's frightening him. Just reading the book is stirring up parts of himself he usually tries to keep buried. He can spend hours at a time running round in circles in his mind to avoid those thoughts, those feelings. The idea of dragging them out and putting them on display for millions of people to see makes him feel faint and nauseous.

He picks up the book and stuffs it in his messenger bag, striding out of the cafe and marching off in no particular direction. He has nothing to do today but think, which is awful; he'd thought reading Giovanni's Room would take more than an hour; he'd thought he'd want to finish it. But he knows how it's going to end. The beginning of the book makes it perfectly clear that Giovanni is going to die and David is probably going to drink himself to death, and even if he doesn't he's always going to regret what he did. (He doesn't know what David did, exactly. He hasn't gotten that far.)

FILL: If you can't be touched 1c/?

He stops at a crossing and suddenly, abruptly, he misses Andrew. It's like a knife in the gut, this feeling, like losing a finger. If Andrew was here, he could tell him all about the script, how good it is, but -- how the names attached are promising, people he'd love to work with, but -- how he'd been despairing of ever finding a script worth his time because most of them are terrible and this one's going to be great, but --

-- and Andrew would get it out of him, that "but". Andrew would look at him with those wide, interested eyes, and it wouldn't even hurt (much) to admit that he's scared. Scared of not being able to do this role justice, and even more scared of doing it justice and dredging up something painful and ugly in the process, something that would make him hate himself for real.

He can almost hear Andrew's voice as he thinks that thought. Don't be silly, Jess, Andrew would say. Of course you can do it. You're going to be fantastic.

The crossing light changes and he gets halfway across the street before he realises that he left his bike chained up outside the cafe, and he has to double back in a hurry, dodging cars when the light changes again, his bag slapping against his thighs as he runs. He tucks a hand into the bag on the walk back to the cafe, touching the spine of the book.

Andrew believes in him. That's not the only thing he misses about Andrew -- not even the most important -- but right now it matters so much that he thinks he's going to say yes to this film, if only because the next time he sees Andrew, he doesn't want to see his face fall and his eyes grow sad, the way they do when Jesse says something self-deprecating that is more than fifty per cent serious.

By the time he reaches his bike, he's talked himself into it.


Andrew doesn't call Jesse to badger him about the part, and in fact he doesn't call Jesse at all, because he has no idea what to say to him. It's Jesse who calls him, and he sounds nervous on the phone, talking fast and tripping over his words. They exchange small talk at first -- family, cats, the weather (the weather? that's a bad sign) -- until Jesse clears his throat, says "um" a few times, then blurts out "I'm going to be doing a movie soon, a really good one, I think, it looks good, it's -- it's based on a book called Giovanni's Room, have you heard of it? It's kind of a classic and we're going to be filming in Paris. I don't know if they have vegetarian food in Paris, I just realised, that could be awkward."

He comes to an abrupt stop, and Andrew can almost see him furrowing his brow and worrying his lower lip between his teeth. "I can help you with that," he says.

"Would you? Do you know Paris? I guess I could cook for myself, but there isn't always time. Not when we're shooting."

"No, I mean -- I'm going to be there with you." As soon as he says it, it feels like overstepping and he wants to suck the words back into his mouth. He settles for holding his breath and waiting for Jesse's response.

"What do you mean?" says Jesse.

"You're playing David, right?"

"Y-yes. You know the book?"

"Yep. And I'm going to be Giovanni."

There's a pause, during which Andrew's heart speeds up and thumps against his chest so hard that it's an effort not to drop the phone and clutch his hands over his breastbone because he may actually be having a heart attack.

FILL: If you can't be touched 1d/?

"Oh, thank God," Jesse breathes, and Andrew wants to kiss someone, but he's on his own so he settles for sighing in relief. "I didn't -- you really -- " Jesse continues, stumbling over the words again. "I feel like -- this is going to be a really tough part, and -- it's -- I'll be so much less anxious if you're there."

"I'm glad," says Andrew. "I mean, I'm -- I'm glad you're glad. You know?"

"Did you -- you didn't sound surprised, did you -- "

"Yeah, actually, my agent said, well, she didn't say you were doing it, only that you'd been approached, and, you know, I don't think I even looked at the script before I said yes." He laughs, half self-deprecating, half nervous.

"Oh," says Jesse, a soft little sigh, warm and surprised.

"Is that a good 'oh' or a bad 'oh'?" Andrew says, teasing, but he knows the answer.

"It's just an 'oh'," says Jesse, and he sounds more like himself. "A neutral 'oh'. Completely meaningless. Sometimes an 'oh' is just an 'oh'."

Andrew laughs, and there's an answering chuckle on the other end of the line, and in that moment, he can't believe that anything is ever going to go wrong in his life.

Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 06:27 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 06:29 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 08:00 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 08:06 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 08:48 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-15 11:25 pm (UTC)(Expand)
Re: FILL: If you can't be touched 1d/? - (Anonymous), 2011-06-16 01:27 am (UTC)(Expand)

FILL: If you can't be touched 2a/?

YOU GUYS! ;_; Thank you so much for all your comments! I can't believe how positive the response has been. I was so nervous before I posted the first instalment and I came close to not posting it because I wasn’t sure it would measure up. I just hope I don't disappoint you all! I love this fandom and it has given me great joy so it’s lovely to think that I’m contributing to that with this little bit of self-indulgence. ♥

NOTE: The dialogue they're reading from the script is mostly taken verbatim from Giovanni's Room, with a few exceptions.

According to Joe, the director, the studio they're using in Paris is new, and huge, and state-of-the-art, and not actually open yet, which is one reason why the table read is taking place in London. The other reason is that most of the cast are English, which makes Jesse nervous until he realises that for some reason English people relate to his sense of humour, and that English actors are possibly the warmest, friendliest people on the planet. Between that and the grogginess of jetlag, he finds he's been swapping stories with the guy playing Jacques for five full minutes before the thought occurs to him that he is apparently now on a first-name basis with Sir Ian Freaking McKellen and he has to take a moment to breathe.

Of all the cast, Andrew has the shortest distance to travel, so naturally he's the last to arrive, along with Carey, who was foolish enough to hitch a lift on his Vespa. They burst in twenty minutes late, introductions and apologies pouring out of them as they rush to grab their seats -- Andrew on Jesse's left side and Carey on Andrew's left -- and Jesse doesn't even bother trying to hide his smile.

"Hi," he says quietly while Joe is giving his little introductory speech about how exciting a project this is and how thrilled he is to be working with all of them.

"Hi," says Andrew, grinning.

"Since we're all finally here," Joe says, with a pointed look in Andrew's direction, "why don't we get started?"

A rustle passes around the room as people take out their scripts and turn the pages. Jesse clears his throat: the script begins with a voiceover from David. "I may be drunk by the morning," he reads, "but that will not do any good. I shall take the train to Paris anyway..."

At first, the read goes in fits and starts. There are places where Joe's not happy with the structure, a few scenes that make him frown and scribble things in the margins. Most of the early part is scenes from David's childhood, so Jesse and Andrew don't even get a single scene together before Joe calls for a cigarette-and-coffee break and pulls the screenwriter aside for a quick confab.

Andrew waggles his eyebrows. "Bit of fresh air?"

"This is London. How fresh can it be?" says Jesse automatically before he realises that Andrew probably wanted to go outside to smoke.

"Says the New Yorker," says Carey as she gets up and stretches. "I'm going for a coffee, and you boys are welcome to join me."

Andrew gets up, and Jesse follows, and they troop down the corridors to a cafeteria that serves pre-packaged sandwiches and extremely dubious-looking filter coffee. Jesse contemplates the coffee pot disapprovingly for several pained seconds before Carey grabs it and pours him a cup, shoving it into his hands. "Drink!" she commands, mock-stern. "You look like death warmed over."

"Thanks," he says. "Though I don't think coffee has the power to raise the dead."

Andrew folds himself into a plastic chair next to Carey and grimaces. "No jokes about raising the dead or I will have to make a Zombieland reference, and you wouldn't want that, now, would you?"

Jesse gives a dramatic shudder and sips the coffee tentatively. "It's probably not poisonous," he says, sitting down opposite Andrew. "So far."

"Speaking of so far," says Carey, waving her copy of the script. "What do you think?"

"It's very faithful," says Andrew. "More than I was expecting, you know, 'cause the original is a bit, um -- "


"I wasn't going to say that. I was going to say... Jesse, what was I going to say?"

Jesse waves a hand vaguely. "Sorry, my telepathy doesn't work when I've had less than five hours' sleep."

FILL: If you can't be touched 2b/?

Andrew kicks him under the table. "You're no help. Pointed," he says to Carey. "I was going to say pointed. Which is fair enough, I guess. There must have been a lot of real-life Giovannis."

"And Davids," says Carey. "Poor David."

"What about poor Hella?" says Jesse. He doesn't really want to talk about David. "Hella's pretty unfortunate too."

"Everyone in the film is pretty unfortunate," sighs Carey. "It's all so wonderfully sad."

"I counted the scenes where I have to cry," says Andrew, tilting his chair back. "It's a lot. They're going to have to stock up on glycerine."

"And onions," says Jesse, picturing Andrew's eyes glistening as they fill with tears. It's a surprisingly pleasant mental image, which makes him feel guilty. "And maybe some sort of poking stick."

Carey giggles and Andrew lets the feet of his chair drop to the floor. (But he wouldn't be really crying. Jesse would definitely be sad if Andrew was crying for real, unless he was crying tears of joy. Does that make it okay?) "Jess. Did you just make a Friends reference?"

Jesse blinks, bewildered. "What?" (Great, now he wants to see Andrew crying tears of joy because his brain is telling him it would be a beautiful sight, and that cannot be healthy and he is much too tired to be having these thoughts.) "No. What? I just thought -- a stick? A big, long stick. To poke you someplace soft and tender. So that you'd cry." He takes a sip of the coffee, and sets it down because his hand is trembling a little. The coffee is not as bad as he'd thought it would be, unlike the things coming out of his mouth, which are completely awful.

They stare at him for a split second before bursting into loud, rapturous laughter, and he grins lopsidedly and shrugs. (Yes, pretend he's being ridiculous on purpose. That works.) Carey starts poking Andrew, or rather, trying to poke him while he bats her hands away and cries "Retract the device! I said, retract the -- ow!", the whole melee quickly degenerating into a girly slapfight.

"Glad to see you're having fun," says an acerbic voice behind him, and Jesse twists around to see Joe with a heavily-marked-up copy of the script in one hand. Joe raises his eyebrows and jerks his head towards the door, and they scramble out of their seats and follow him like scolded schoolchildren.

"We need to move some scenes around," Joe says to him as they go back into the conference room where the read-through is taking place. "Nothing too drastic." He takes his seat and looks around. "Okay, everyone, we're skipping 17 and 18, so let's pick up from the beginning of 19."

There's a rustle of paper and a low murmur, and then Ian's warm, rich voice: "David! What a pleasure to see you. It's been so long."

It's only a read-through, and they're not expected to act, but even Ian's normal speaking voice is so compelling that Jesse feels the need to up his game. He tries injecting a note of wariness into the lines David has with Jacques, a little distance, a little contempt. Ian gives him an appreciative look, and when he glances up to the head of the table Joe is nodding thoughtfully.

I can do this, he thinks, and it's a rush like no other, that moment when he senses that a part is within his grasp after all, that no matter what doubts have been plaguing him, this is actually something he's good at.

The rush carries him through the barbed exchanges with Jacques and the opening lines with him and Giovanni, and before he's fully aware of what he's doing he finds himself turning to Andrew and addressing his lines to him, as if they were just talking, as if there were no scripts in front of them. They talk about New York and Paris and America and time and big fish and little fish, and it's not a conversation they'd ever have as themselves, and yet --

"But you will come more often now?" Andrew says. He's not looking at the script. Either he's learned this part already or he's read a few lines ahead.


Andrew smiles. "Ah! Don't you know when you have made a friend?"

FILL: If you can't be touched 2c/?

Jesse's mouth is dry. He takes a sip of water and looks down at his script, which is unnecessary; he's read this particular scene in both the novel and the script so many times he could write it out in his sleep. "So soon?"

"Why, no, we can wait another hour if you like. Or we can wait until closing time. Or we can wait until tomorrow, only that means you must come here tomorrow and perhaps you have something else to do. Tell me -- people are always saying, we must wait, we must wait. What are they waiting for?"

Jesse looks up. Andrew's face is scruffy with stubble and he's wearing his usual sloppy plaid shirt over a t-shirt. Nothing has changed, and yet -- there he is: Giovanni, staring out through Andrew's eyes.

He swallows. "Well," he says, "I guess people wait in order to make sure of what they feel."

Andrew laughs gently. "You are a true philosopher. And when you have waited -- has it made you sure?"

There is no air in the room. Jesse's mouth is hanging open and he can't breathe, can't think, can't do anything but stare at Andrew and wait.

"Oh, right," says Joe, clearing his throat. "Sorry, that's... that'll be off-screen, probably me or... Anyway. Garçon!"

The spell is broken, and Andrew looks down at the script. "You can wait now," he reads, a little stiffly, as if he's never seen the words before. "And tell me how sure you have become when I return."

The rest of the read-through goes by in a blur, and even in the really intense parts Jesse doesn't try to put any emotion into it -- couldn't even if he wanted to, because his mind is caught in a loop of what the fuck, what the hell, what was that, where did that come from, what is going on? He barely registers the others' voices, only catching a line here and there -- I was always disappointed on Christmas morning and maybe everything bad that happens to you makes you weaker and you bring me fever but no delight -- all of them Andrew's, as if Andrew is anchoring him, pulling him back every time he goes too far adrift on the waters of his own mind.

He doesn't look at Andrew, or he looks at him as little as he can get away with, trying his best to time his glances so that their eyes never meet. When he does catch a covert glimpse of him, Andrew looks... fine. He is concentrating, intent on what he's doing. He doesn't look disturbed or upset.

Maybe he didn't notice. Maybe there was nothing to notice. Maybe this is just Jesse being neurotic, as usual, and blowing every tiny thing that happens out of all proportion because... because why? Because his life isn't difficult enough? (In his head he hears a snide little voice mutter poor you with your rich-boy problems, but he ignores it. He's got himself down to one shame-spiral at a time, which is progress.)

Finally, finally, the last scenes come, the tortured leave-taking between David and Hella, and a long wordless scene in which David stands naked in front of a mirror and then dresses and leaves the house, tearing Jacques' letter into pieces as he walks and tossing the pieces into the air.

"And fade... and that's it," says Joe, and there's scattered applause. Jesse stares at the last page of the script, pondering how he managed to talk himself into doing a film with three sex scenes and one full-frontal nude. (Is the nude scene negotiable? Please God, let the nude scene be negotiable.)

"Well done, everyone," says Joe. "There's some things to iron out, but nothing too frightening. Yes, I think this is going to be really special."

More applause, and a rumble as people start pushing their chairs back and preparing to leave. Jesse feels a hand on his shoulder. He looks left automatically, but it's not Andrew; it's Ian, who is holding out his other hand for Jesse to shake. "This is very exciting," he says. "I can tell it's going to be a pleasure working with you."

Jesse takes his hand after only a brief moment of worrying whether his palms are sweating. "Thank you. I, um, me too, I mean, it's really an honour. I -- I've always admired your work."

Ian's smile broadens, and Jesse has the unnerving realisation that Ian -- that is, Sir Ian McKellen -- is pleased because Jesse has paid him a compliment. "Likewise," says Ian, and Jesse grins.

FILL: If you can't be touched 2d/?

Andrew nudges him, and he turns, his heart speeding up. He can't get away with not looking at him now. "Um," he says. "That, uh, went well?"

Andrew smiles warmly, and Jesse feels a flood of relief. This is the thing he forgets about Andrew when they've been apart: Andrew knows about his neuroses and his awkwardness and all his stiff, prickly edges, and likes him anyway.

"This is going to be amazing," Andrew says in a quiet voice, meant for their ears alone. "Not a dry eye in the house."

"You're going to break their hearts again," says Jesse.

"So are you," says Andrew. "You're the star."

"I'm the one who drives you to the guillotine. Everyone's going to come out of this movie saying 'David brought it on himself', and they'll be right."

"Isn't that what tragedy means?" says Andrew. "A great man brought down by a fatal flaw in his character. It's more interesting that way."

Jesse shifts in his chair. "I don't know if I'd call David a great man."

"I think Giovanni would disagree."

There's something in Andrew's tone that makes Jesse blush, and he looks away to hide it, glancing around the room. The others are mostly gone, the only ones remaining being a couple of the finance people and the producer, who are having a serious-looking discussion over a laptop.

"Lunch?" says Andrew, clapping him on the shoulder. "I know a place."

To his surprise, Jesse doesn't actually want to have lunch with Andrew. He wants to retreat to the men's room and splash water on his face and breathe deeply with his eyes closed for ten minutes, and then go back to his hotel room and sleep. He's had kind of a hard day, and it's not even one o'clock yet, though his body thinks it's six o'clock the day after an all-nighter.

"Lunch sounds good," he says, because he can't say no to Andrew. Not when he hasn't seen him in three months.

As they leave the building, there's a gust of wind that carries the scent of the city to his nostrils. The not-so-fresh air of London smells different from the not-so-fresh air of New York. Paris will smell different again, and he pauses in the doorway for a moment, gripped by a fear that would be stronger, he knows, if he weren't so tired. He doesn't even speak French.

"All right?" says Andrew, turning back to look at him.

"I... fine," says Jesse, shaking his head. "Do you want to room together again?"

Andrew's eyebrows go up. "I sort of assumed we would. Is that okay?"

"That's -- fine, that's perfect, I -- I'd like that."

Andrew smiles, not the face-splitting grin but something slower, warmer, and it makes Jesse feel warm to see it, even though it's March in London and the air is chilly and damp.

Oh God, he thinks, what is happening to me?

Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-17 11:44 pm (UTC)(Expand)
Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-18 10:42 am (UTC)(Expand)
Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-18 03:00 pm (UTC)(Expand)
Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-18 11:08 pm (UTC)(Expand)
Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-19 11:01 am (UTC)(Expand)
Re: FILL: If you can't be touched 2d/? - (Anonymous), 2011-06-19 02:27 pm (UTC)(Expand)

FILL: If you can't be touched 3a/?

Once more I have to thank you all from the bottom of my heart for your comments. I'm so glad you're enjoying reading this, because I am sure as heck enjoying writing it!

This is the chapter where I show off my first-hand knowledge of Paris! ...which is like twenty years out of date, haha. What memory couldn't tell me, I tried to pick up online (thank God for Google StreetView!); my apologies for any inaccuracies.

Mouseover French dialogue for translation.

"Mais les brav's gens n'aiment pas que l'on suive une autre route qu'eux," Andrew sings under his breath as he unpacks; it's a song Joe wants him to know off by heart before they start filming, and he had it on repeat on his iPod all through the journey from the airport. Jesse's been at the apartment for three days when he arrives, and the sitting-room/kitchen has a lived-in feeling already, wet dishes draining by the sink and a pile of books on the table by the sofa.

There's no television. They've mutually agreed that there's no point, since they'd only be able to pick up French channels; if they want to watch a movie, they can use Andrew's laptop. What there is instead is a gorgeous view of the Place des Vosges, right in the heart of the Marais, which, in Andrew's mind, is completely worth the exorbitant rent they're paying. (The production company is subsidising the apartment, not paying for all of it. They had a slightly tense conversation about how they'd split the difference, which Andrew brought to an end by showing Jesse his contract for the second Spider-Man movie. "Wow," Jesse had said, "okay, you win. You are officially richer than me.") The building is old and elegant and very, very French, and Andrew loves it.

When he's offloaded all his clothes and miscellaneous bits and pieces into the wardrobe and chest of drawers in his room, and lined up his toiletries in the bathroom (which has a clawfoot tub with a shower head that looks Victorian), he flops down on the sofa next to Jesse, who closes his book and smiles a little hesitantly. "Hi," he says.

"You said that already," says Andrew.

"I thought it bore repeating," says Jesse. "What was that song you were singing?"

For answer, Andrew fishes his iPod from his pocket and shows him the screen. "Georges Brassens, 'La Mauvaise Reputation'," Jesse reads. "What's it about?"

"There's this guy with a bad reputation -- "

"I figured that much."

" -- and all the small-minded people are like 'ooh, he's bad, stay away from him', and he's like 'whatever, I gotta be me' -- "

"Haters to the left."

"Exactly. Only, you know. In French."

"Everything sounds more sophisticated in French," Jesse says thoughtfully. "But maybe I only think that because I don't understand it."

"Do you understand the French bits in the book?" Jesse looks at the book in his hand with a frown, and Andrew shakes his head. "No, I mean Giovanni's Room."

Jesse pushes his glasses up the bridge of his nose. "Kind of. A lot of them are obvious from context. A couple I had to look up, like tapette."

Andrew grimaces. He had to look that one up himself. It's an ugly word. "I think that's the only French word left in the screenplay," he says. "I meant to ask Chris or Joe about that. Why did they translate all the other French dialogue, but not that one word?"

"That part's not even in the book," Jesse says, putting his book aside. "You're right, it's strange. But I feel like having a random French passer-by yell 'faggot' would be even stranger. It's too American."

"And I suppose 'poof' is too British," says Andrew. "And 'queer' is..."

"Not punchy enough," says Jesse. "Plus, it's been reclaimed now. It doesn't have the same impact."

"I suppose."

They lapse into silence. Andrew stares out the window at the blue sky and the linden trees three floors below them, and relishes Jesse's presence, quiet and warm by his side.

"Why were you -- "

"Have you been -- "

They speak at the same time and suddenly stop, laughing. "You first," says Andrew.

"Why were you singing that song?" says Jesse. "It's not your usual kind of music."

FILL: If you can't be touched 3b/?

"It's for the film," Andrew says. "You know the bits where Giovanni's doing stuff to the room and sort of dancing along to the record player? That's the song we're using, and I have to sing along. It's sort of Giovanni's theme song."

"Hmm," says Jesse. "I guess it fits."

"More than you think," says Andrew. "The last line is 'everyone will come to see me hanged, except the blind ones, of course.'"

Jesse winces. "Ouch."

"Exactly." Jesse's eyes go distant, and Andrew imagines he can see the paths his mind is travelling, wondering how David would feel about that, if he would make the connection between the defiance of the song and Giovanni's reckless behaviour. He nudges Jesse before he can get too deep into it. "I was going to say, have you had a chance to see any of the city?"

"Oh," says Jesse, "no, I -- I was kind of. Saving it. I thought it would be more fun with the two of us."

Andrew's stomach flutters and he grins. "Great. That's great. We can go to Shakespeare & Company. Or those bookstalls along the Seine."

"Or the catacombs."

"Or all three!"

"All three in one day? That's a lot of walking."

Andrew shrugs, still grinning. "Pick one and we'll do that, and have dinner somewhere nearby."

Jesse looks out the window. "It'd be a shame to go underground when the weather's so nice."

"The bookstalls, then." Andrew leaps to his feet and Jesse follows, a little more sedately.

They go out by foot, having decided that part of the point of "seeing Paris" is to walk and take the Metro like Parisians instead of being cooped up in a car. It's lovely at first, walking side by side with Jesse, spotting things Jesse would like and pointing them out to him, soaking up the atmosphere of a different city. There are Starbucks in Paris and McDonalds and posters for American movies, but there are also corner bistros and pâtisseries and pavement cafés like something out of a Godard film, and when he and Jesse lapse into comfortable silences, the only voices he hears around him are French.

They're riding on the Metro, standing up amid a press of bodies, and he's got his eyes closed, tuning in to snatches of conversation that are slow and simple enough for him to catch:

...n'a pas inventé l'eau chaude, tu sais? ...c'est lui, j'suis sûr ...j'ai dis lundi, pas mardi ...ouais, c'est le mec du film ...c'est pas lui, c'est quelqu'un qui l'ressemble ...si, j'suis sûr, c'est Spider-Man!

Shit. Andrew opens his eyes and looks around, and sure enough, there's a teenage boy staring furtively at him from across the carriage. The boy tries a smile and a wave when he sees that Andrew's seen him watching, and Andrew smiles back and gives the boy a friendly nod, though all he wants to do is snarl. How far would he have to go to get away from this crap?

The boy's face lights up and he nudges his companions and nods, talking excitedly, too fast for Andrew to understand him. Andrew sighs and turns his face towards the doors.

"Something wrong?" Jesse murmurs.

"Spider-fans," says Andrew with a grimace.

Jesse pulls the brim of his hat down and turns to face the same direction as Andrew. "We can go back, if you like."

Andrew shakes his head. "No, I don't hate it as much as you do," he says, thinking They're not going to take this from us.

"You should get a hat," says Jesse. "As a disguise."

"Does that work for you?"

Jesse nods. His face is blank in the way that it is when he's making a joke that he doesn't expect anyone else to get. "For a while. Then they start to recognise the hat and you need to get a new hat."

"That's the same hat you've always had."

"I like this hat. It's a good hat."

"People can probably identify you from the hat alone. There's, like, hat-recognition software out there somewhere, I'm sure."

"Hat GPS tags."

"Hat fingerprinting."

"My hat has no fingers. How can you fingerprint a hat when a hat has no fingers?"

Andrew chuckles. "Okay, now we've reached the point where the word 'hat' has lost all meaning."

FILL: If you can't be touched 3c/?

The train pulls into Chatelet, and they get off. Jesse is smiling a small, satisfied smile, and it occurs to Andrew that he's not upset any more; and it's only then that he realises how upset he was in the first place. It stops him in his tracks for a moment, and he has to hurry a little to catch up with Jesse without being obvious.

"Thanks," he says.

Jesse looks up, startled. "For what?"

For being you, Andrew wants to say. For being amazing. He's gripped by a surge of affection so strong that he wants to hug Jesse right there in the Place du Chatelet, or spew forth a stream of words about how lucky he feels to have Jesse in his life and how much happiness it gives him just to know that Jesse exists; but when he says things like that, half of the time Jesse shrugs it off as if he can't possibly mean it, and the other half he gets embarrassed. So he shrugs and grins and grabs the hat from Jesse's head and jams it onto his own. "For lending me your hat," he says.

Jesse's mouth flaps open and closed like a trout's, and that makes Andrew laugh, as does Jesse's indignant cry of "You -- hat thief!"

"Hat borrower!"

Jesse scowls. "Neither a borrower nor a lender of hats be!" He sobers. "Seriously, though, you shouldn't borrow hats. For all you know, I have head lice."

"You don't have head lice."

"But I could! You should be more careful. Hygiene is important."

Andrew rolls his eyes. "Oh, don't be so American."

At that, Jesse goes quiet, and Andrew's not sure whether he's done something wrong. He's working himself up to apologise when Jesse says softly "That's the kind of thing Giovanni would say to David."

Andrew stops walking. "I didn't mean -- "

"I didn't think you meant anything by it." Jesse's voice is uncharacteristically clipped.

They've reached the quay by now, and Jesse veers off to one promising-looking stall while Andrew lingers, taking in the crowds and trying to figure out what just went wrong to throw the two of them so far off-balance. He thinks maybe Jesse was feeling a little crowded, and complaining about the hat was a way of putting some distance between them. It hurts a little, but the last thing he wants is to make Jesse uncomfortable.

He saunters along, browsing the books, always at least ten feet away from Jesse. It's frustrating, because (of course) most of the books are in French, so there isn't much to distract him from the gnawing worry that he's hurt Jesse, and when he finally sees something he wants to buy (Becoming a Man by Paul Monette, which looks both interesting and relevant), he finds his wallet is full of pounds and dollars, and hardly any euros. He holds up his hand to the stallholder, says "Un moment, s'il vous plait," and jogs over to where Jesse's standing.

By the time he gets there, somebody else has got there first: a wide-eyed young woman in a green coat who is talking earnestly to Jesse in fast and slightly stilted English.

"...I admire so much your performance, M. Eisenberg, it is so much an inspiration for me -- "

"Thank you," Jesse's saying, and only someone who knew him well could detect the strain in his voice. "That's really very kind of you to say."

"Oh, no, it is not kind, it is -- "

Andrew puts a hand on Jesse's shoulder. "Jesse?"

Jesse glances from Andrew to the woman and says rapidly, "Thank you so much, but as you can see, I have other business."

Andrew gives the woman a frozen smile and steers Jesse away from her. "I suppose, on the plus side, she didn't have a camera," he says after a moment.

"There's that," says Jesse, and he sounds so weary that Andrew wants to hug him. He settles for taking off the hat and handing it back.

"I think you need this more than I do," he says.

Jesse takes it with a wry smile and puts it on, pulling the brim down low. "Thanks," he says. "And thanks for the rescue."

"Any time."

"I feel so awful when people are just trying to be nice and all I can think is 'leave me the fuck alone'. I mean, who am I to -- but you can't. I can't. There are too many of them, and -- "

FILL: If you can't be touched 3d/?

"And all of them want a piece of you, and there's only so much of you to go around." There's a flash in his peripheral vision and he curses under his breath. "Speak of the devil. Look, there's a stall over there with a book called Becoming a Man. Buy it for me? I'd get it myself but I don't have enough euros."

"Sure, but what about you?"

"I'm going to toss some sardines to the seagulls."


Andrew raises one finger and puts on his best Eric Cantona voice. "'When ze seagulls follow ze trawler, it's because zey sink sardines will be srown into ze sea.'"

Jesse stares. "You are a very strange man," he says, and he turns on his heel and heads for the stall.

Andrew chuckles to himself before putting his game face on and heading over to the source of the flash: teenagers again, a mixed group this time, very excited to meet a real live superhero (or at least someone who plays one in the movies). Their English is bad and Andrew's French is worse, but somehow they manage to communicate so that they get their autographs and their pictures taken with le vrai Spider-Man, and he kisses the cheeks of the girls and shakes hands with the boys before they rush off, chattering at high speed.

It's fine, really; rather pleasant, in a way, because they're so sweet in their enthusiasm, and on any other day he wouldn't mind. Any day that wasn't his first day in Paris with Jesse.

Jesse walks up beside him. "I got it," he says, handing him a brown paper bag with a book inside.

"Thanks. This -- this'll die down soon, you know."

"I hope so."

"They're just not used to us. They'll be giving us that famous Parisian courtesy before you know it."

"Parisian courtesy. Is that like 'jumbo shrimp'?"

"Military intelligence."

"British food."


Jesse grins, and Andrew laughs, and just like that, they're back.

The rest of the day is better. Nobody recognises them, or if they do they're discreet about it. They cross the Pont Neuf and watch the boats chugging up and down the Seine; at a stall on the Left Bank, Jesse finds a map of pre-revolutionary Paris that makes his eyes light up; they go to Shakespeare & Company and sit in on a reading from a new novel that sounds poetic and strange. When the reading is over, Jesse buys a copy of the novel and talks to the author in a low voice while Andrew wanders through the shop, taking in the evidence of cats and people living right there among the shelves. It's cosy and ramshackle and so welcoming that Andrew wants to wrap it round himself like a blanket.

FILL: If you can't be touched 3e/?

"Shall we go?" says Jesse as Andrew is running his finger along the Bs in the fiction section.

"I never want to leave," says Andrew. "This place is perfect."

"I know," says Jesse. "I wish I could live here."

Andrew gestures towards a bed covered in books. "You could. People do."

"Writers do."

"You're a writer." Jesse makes a face and Andrew rolls his eyes. "You are. All right, I won't push, but you don't give yourself enough credit."

"I'm not needy enough for this place, anyway," says Jesse, giving the book-laden bed a wistful glance. "This is for people who'd be starving in a garret otherwise. I am starving, but not in a garret."

Andrew claps him on the shoulder. "Okay, point taken. Dinner."

They wander through the 5e arrondissement for a while, looking for a likely place, and eventually getting crêpes from a streetside trailer (Andrew orders, Jesse pays), taking bites from each other's to confirm that they are both equally delicious and licking the dripping sauces from their fingers. They walk along the quays for a while; it's evening and the bookstalls are closing down as the sky turns dark and the city lights up.

They cross the river and walk all the way back to the Place des Vosges, sometimes talking, sometimes not. Andrew feels his heart swelling as they finally reach their building. "All we need is some sangria," he says, looking over his shoulder at the park.

He thinks, at first, that Jesse didn't hear him, or didn't get it, but when they're inside the apartment, Jesse says softly, "I'm glad I spent today with you, too."

Andrew feels a grin spilling out on his face, and it's like a wave crashing into him, this feeling. He wants to laugh. He wants to spread his arms wide and shout. He wants to stop time so that he can live in this moment forever.

He wants to kiss Jesse, to fold his arms around him and hold him close and never let him go.

The thought freezes him, and Jesse's hung up his hat and coat and disappeared into his bedroom before he can move again.

I love Jesse, he thinks as he hangs up his own jacket. I am in love with Jesse.

It's so obvious, now that he's finally allowed himself to think the thought. He feels a little stupid for not having noticed it before.

He sits down heavily on the sofa and runs his fingers through his hair.

So that was what that whirling mess of feelings was all about. It's almost a relief, to be able to put a word on it -- a simple one, at that. Easily understood. Yes, it's almost a relief.

But not quite.

Re: FILL: If you can't be touched 3e/? - (Anonymous), 2011-06-19 09:03 pm (UTC)(Expand)
Re: FILL: If you can't be touched 3e/? - (Anonymous), 2011-06-21 01:56 am (UTC)(Expand)
Re: FILL: If you can't be touched 3e/? - (Anonymous), 2011-06-21 12:32 pm (UTC)(Expand)
Re: FILL: If you can't be touched 3e/? - (Anonymous), 2011-06-21 03:28 pm (UTC)(Expand)
fanart <3 - cookiestome, 2011-06-24 09:23 pm (UTC)(Expand)
Re: fanart <3 - arcadianmaggie, 2011-06-24 10:32 pm (UTC)(Expand)
Re: fanart <3 - saba1789, 2011-06-25 02:49 am (UTC)(Expand)
author!anon here - (Anonymous), 2011-06-25 06:33 pm (UTC)(Expand)
Re: fanart <3 - leladancer18, 2011-06-27 01:27 am (UTC)(Expand)
Re: fanart <3 - groffles, 2011-06-27 04:27 pm (UTC)(Expand)
Re: fanart <3 - treelines, 2011-06-27 04:34 pm (UTC)(Expand)
Re: fanart <3 - sanann, 2011-07-02 03:10 am (UTC)(Expand)

(from the author: soundtrack links, kind of)

"La Mauvaise Reputation" by Georges Brassens (with subtitles in French and English): http://www.youtube.com/watch?v=Q_TB_r5-cf4

"Perfect Day" by Lou Reed (with lyrics): http://www.youtube.com/watch?v=nCymRC7cZTk

and Eric Cantona on seagulls: http://www.youtube.com/watch?v=bTq6aApCBnA :D

If you can't be touched 4a/? - (Anonymous), 2011-06-22 09:14 pm (UTC)(Expand)
FILL: If you can't be touched 4b/? - (Anonymous), 2011-06-22 09:16 pm (UTC)(Expand)
FILL: If you can't be touched 4c/? - (Anonymous), 2011-06-22 09:17 pm (UTC)(Expand)
FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-22 09:18 pm (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-22 09:41 pm (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-22 10:32 pm (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-23 01:15 am (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-23 07:47 am (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-23 09:52 am (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-23 12:45 pm (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-23 05:08 pm (UTC)(Expand)
Re: FILL: If you can't be touched 4d/? - (Anonymous), 2011-06-25 03:55 pm (UTC)(Expand)
FILL: If you can't be touched 5a/? - (Anonymous), 2011-06-26 08:30 am (UTC)(Expand)
FILL: If you can't be touched 5b/? - (Anonymous), 2011-06-26 08:31 am (UTC)(Expand)
FILL: If you can't be touched 5c/? - (Anonymous), 2011-06-26 08:32 am (UTC)(Expand)
FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-26 08:34 am (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-26 10:40 am (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-26 12:33 pm (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-26 05:02 pm (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-27 12:13 am (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-06-27 02:15 pm (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-07-01 06:19 pm (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-07-02 10:19 am (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-07-03 01:46 am (UTC)(Expand)
Re: FILL: If you can't be touched 5d/? - (Anonymous), 2011-07-03 02:13 am (UTC)(Expand)
FILL: If you can't be touched 6a/? - (Anonymous), 2011-07-02 12:43 pm (UTC)(Expand)
Re: FILL: If you can't be touched 6a/? - (Anonymous), 2011-07-03 12:00 pm (UTC)(Expand)
FILL: If you can't be touched 6b/? - (Anonymous), 2011-07-02 12:44 pm (UTC)(Expand)
Re: FILL: If you can't be touched 6b/? - (Anonymous), 2011-07-03 12:20 pm (UTC)(Expand)
FILL: If you can't be touched 6c/? - (Anonymous), 2011-07-02 12:45 pm (UTC)(Expand)
FILL: If you can't be touched 6d/? - (Anonymous), 2011-07-02 12:45 pm (UTC)(Expand)
FILL: If you can't be touched 6e/? - (Anonymous), 2011-07-02 12:46 pm (UTC)(Expand)
FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-02 12:48 pm (UTC)(Expand)
Re: FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-03 02:10 am (UTC)(Expand)
Re: FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-03 02:19 am (UTC)(Expand)
Re: FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-03 04:44 am (UTC)(Expand)
Re: FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-03 12:13 pm (UTC)(Expand)
Re: FILL: If you can't be touched 6f/? - (Anonymous), 2011-07-04 02:13 pm (UTC)(Expand)
Notes & warnings - (Anonymous), 2011-07-02 12:54 pm (UTC)(Expand)
Re: Notes & warnings - (Anonymous), 2011-07-02 02:10 pm (UTC)(Expand)
FILL: If you can't be touched 7a/? - (Anonymous), 2011-07-06 09:15 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7a/? - (Anonymous), 2011-07-07 03:32 pm (UTC)(Expand)
FILL: If you can't be touched 7b/? - (Anonymous), 2011-07-06 09:16 pm (UTC)(Expand)
FILL: If you can't be touched 7c/? - (Anonymous), 2011-07-06 09:17 pm (UTC)(Expand)
FILL: If you can't be touched 7d/? - (Anonymous), 2011-07-06 09:18 pm (UTC)(Expand)
FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-06 09:18 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-06 09:42 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-06 10:24 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-06 10:58 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-06 11:07 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-07 01:57 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-07 03:43 pm (UTC)(Expand)
Re: FILL: If you can't be touched 7e/? - (Anonymous), 2011-07-08 02:38 am (UTC)(Expand)
Warning for part 7 - (Anonymous), 2011-07-06 09:20 pm (UTC)(Expand)
FILL: If you can't be touched 8a/? - (Anonymous), 2011-07-10 10:31 am (UTC)(Expand)
FILL: If you can't be touched 8b/? - (Anonymous), 2011-07-10 10:32 am (UTC)(Expand)
FILL: If you can't be touched 8c/? - (Anonymous), 2011-07-10 10:34 am (UTC)(Expand)
FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 10:35 am (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 01:30 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 02:41 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 02:54 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 03:03 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 04:19 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-10 11:05 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-11 12:43 pm (UTC)(Expand)
Re: FILL: If you can't be touched 8d/? - (Anonymous), 2011-07-12 02:19 am (UTC)(Expand)
soundtrack link - (Anonymous), 2011-07-10 10:40 am (UTC)(Expand)
author's note - (Anonymous), 2011-07-10 05:17 pm (UTC)(Expand)
Re: author's note - leladancer18, 2011-07-11 04:34 am (UTC)(Expand)
Re: author's note - (Anonymous), 2011-07-12 12:54 am (UTC)(Expand)
FILL: If you can't be touched 9a/? - (Anonymous), 2011-07-12 07:31 pm (UTC)(Expand)
author!anon here - (Anonymous), 2011-07-12 08:20 pm (UTC)(Expand)
Re: author!anon here - catbird_tales, 2011-07-12 08:26 pm (UTC)(Expand)
FILL: If you can't be touched 9b/11 - (Anonymous), 2011-07-12 07:32 pm (UTC)(Expand)
FILL: If you can't be touched 9c/11 - (Anonymous), 2011-07-12 07:33 pm (UTC)(Expand)
FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-12 07:34 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-12 10:26 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-12 10:48 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-12 11:02 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-13 10:38 am (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-13 06:15 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-14 08:25 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-14 09:58 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-15 04:38 pm (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-16 11:04 am (UTC)(Expand)
Re: FILL: If you can't be touched 9d/11 - (Anonymous), 2011-07-17 05:31 am (UTC)(Expand)
FILL: If you can't be touched 10a/11 - (Anonymous), 2011-07-16 02:05 pm (UTC)(Expand)
FILL: If you can't be touched 10b/11 - (Anonymous), 2011-07-16 02:06 pm (UTC)(Expand)
FILL: If you can't be touched 10c/11 - (Anonymous), 2011-07-16 02:08 pm (UTC)(Expand)
FILL: If you can't be touched 10d/11 - (Anonymous), 2011-07-16 02:08 pm (UTC)(Expand)
FILL: If you can't be touched 10e/11 - (Anonymous), 2011-07-16 02:09 pm (UTC)(Expand)
FILL: If you can't be touched 10f/11 - (Anonymous), 2011-07-16 02:10 pm (UTC)(Expand)
FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 02:11 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 04:42 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 04:51 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 05:22 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 06:02 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 07:12 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-16 08:49 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-17 05:32 am (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-17 10:27 am (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-17 07:16 pm (UTC)(Expand)
Re: FILL: If you can't be touched 10g/11 - (Anonymous), 2011-07-18 10:22 pm (UTC)(Expand)
author's notes/content advisory - (Anonymous), 2011-07-16 02:16 pm (UTC)(Expand)
FILL: If you can't be touched 11a/11 - epilogue - (Anonymous), 2011-07-17 06:08 pm (UTC)(Expand)
FILL: If you can't be touched 11b/11 - (Anonymous), 2011-07-17 06:10 pm (UTC)(Expand)
FILL: If you can't be touched 11c/11 - (Anonymous), 2011-07-17 06:11 pm (UTC)(Expand)
FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-17 06:12 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-17 06:28 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-17 07:30 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-18 10:07 am (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-18 12:27 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-18 08:51 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-18 10:29 pm (UTC)(Expand)
Re: FILL: If you can't be touched 11d/11 - COMPLETE - (Anonymous), 2011-07-20 02:23 am (UTC)(Expand)
repost & extras - (Anonymous), 2011-07-18 07:36 am (UTC)(Expand)
Re: repost & extras - (Anonymous), 2011-07-19 06:02 am (UTC)(Expand)