Can you write a one shot where the reader plays the violin and one day while she’s playing, Paul heard and goes to watch and then when she turns around he imprints on her? Thanks! Btw, I love your blog
Changing schools in the middle of the year should be something you’re used to by now but you weren’t. You were shy and didn’t make friends easily, so moving every few years or even months hadn’t helped you change that fact. Every time you finally managed to get to know people better you had to move away again. There wasn’t any other way because of your fathers work, you knew that so you never complained, though you weren’t happy about it at all. You always felt lonely, having no one to turn to or even talk. It wasn’t really the life you dreamed about but surely things would be better once you finished school and could live on your own.
Your first day at school would be tomorrow and you couldn’t have been more nervous. No matter how often you had been through this, it was something you’d never get used to.
Trying to distract yourself and stop thinking about your inevitable doom you took the car and started to drive. You had no idea where to but it didn’t matter, you just needed to get out of the house for a bit.
You stopped in the middle of nowhere and go out of the car to head into the woods. The place was near the ocean and looked nice and relaxing, so you hoped it would calm you down and take some of your fears away. You get out your violin and start to play while facing the ocean, the music carrying through the woods.
Paul had been on his way home when he suddenly heard the noise. Well, more like music than noise but still, it was odd. There usually weren’t people that far out here.
He walks into the direction of the music and sees you standing with your back to him. The sound was actually quite enjoyable so he stayed for a bit and listened while he watched you.
“Is someone there?” You suddenly ask and put down your instrument after hearing something behind you. You spin around and look at a boy, leaning against a tree.
“Damn it…” Paul mumbles, his eyes growing bigger as he stares at you. He knew exactly what it meant that he was feeling when he looked at your face. He had just imprinted on you and didn’t even know who you even were.
“Are you okay?” You take a step towards him with a worried expression, “You look really pale.”
“What’s your name?” He suddenly asks and you give him a confused look.
“Do you live here?”
“I just moved here, why?” You weren’t sure why he was asking all these questions and it was a bit weird.
“My name’s Paul.” He nods, “I’m sure I’ll see you around.” He tells you before he turns around and leaves you standing there.
You didn’t realize it back then but your life had just changed fundamentally.
Headcanons on the port mafia's driving skills? from best to worst driver
Chuuya’s practically the best driver in Yokohama, let alone the Port Mafia. Considering driving’s a favorite hobby, he’s had plenty of time to master his car and everything that comes with it; he’s tried most of the Fast and Furious stunts, and pulled off nearly all of them, too.
While he’s pretty standard fare when it comes to driving normally, Tachihara comes alive when the sun goes down. Drag racing is the name of his game; whenever he gets the rare night off, you can bet he’s off to sniff out a race. While he may not be the best racer out there, the fact that Tachihara runs with the Port Mafia scares the other drivers shitless so unless he matches against someone who doesn’t know his face, he rarely gets a fair match. As long as he wins, though, fairness doesn’t really cross his mind.
If you’re looking for a safe driver, you might not want Higuchi behind the wheel; when you need to get somewhere in a hurry, though, she’s your woman. Yellow lights turn into green lights, red lights simply can’t stop her, all road signs are completely disregarded; somehow she still manages to get where she’s going unscathed. After a ride with Higuchi, though, you’ll never be the same.
He sucks. Corpses have really bad lead foot.
Carting Dazai and Ango around sometimes has shaped Odasaku into a fantastic driver. After all, nothing hardens an individual quite like a road trip with Dazai screaming along to the radio. Oda can handle any distraction.
Even if she’s a decent driver, Gin hates getting behind the wheel. She pretends not to be able to drive so she doesn’t have to.
Purposefully totaling Tachihara’s car by flooring it straight into a duck pond is the highlight of Gin’s driving career.
Akutagawa’s practically road rage personified. If he’s in a bad enough mood he will, quite literally, run other drivers off the road. When Akutagawa slides in the driver’s side, someone’s car is doomed. If he can manage to get through a drive without being pissed off by some asshole tailgating him, Akutagawa’s actually a pretty good driver.
Hirotsu’s a capable driver, but the fact that he has a vehicle older than he is hides that fact. The old beast handles like shit, but damn, the thing looks amazing.
Riding with Hirotsu sometimes gets a little old; he’s constantly cracking the old-person schtick (even though he’s far too young for that) whenever someone’s not pressing on the gas hard enough. “Go,” he mumbles under his breath, “I don’t have that much time left to waste behind you.”
Kouyou much prefers either walking or being driven. Considering she flatly refuses to get behind the wheel, her driving skills are a bit of a mystery.
Getting limousine rides for ages has done a number on Mori’s driving abilities, but he’s still relatively aware of the rules of the road. If necessary, he can get from point A to point B with only one or two hit-and-runs involved.
She doesn’t even know the rules of the road, and, if she did, she wouldn’t follow them. Blown-through red lights and flattened pedestrians abound.
You take one look at this man, and tell me how you think he drives. (Hint: he may or may not have to stop in the middle of the road to let everyone inside the car get out and vomit when he’s somehow gotten a hold on the wheel.)
Considering his feet can’t even brush the pedals, whether he can actually drive skillfully is a bit of a moot point.
This is a fic won in the STH auction by @the-vorkosigan. I had the most wonderful time writing this and am really excited to have written a buddy cop AU, something I had never attempted before. I hope you have fun reading this!
Steve pulled out his flip phone as he walked out of the terminal into the bustling mess of the reception area. The reception was always a jumble with his Neolithic piece of tech, but Steve wasn’t usually a guy who liked to throw things of the past while they still held value.
Usually was a point to stress, especially at present, as Steve stepped into the familiar air of New York - a piece of the past he had abandoned five years ago.
He skimmed through the messages on his phone, sighing exasperatedly as he read the 13 messages from Bucky and Sam together in various degrees of snarky concern. He was reading the 12th message when the screen changed and a flashing name of Nick Fury came on.
“Rogers,” Steve said as he took the call, keeping his voice deliberately light and moving onto the curb to hail a cab, “I’m here, sir. Will be there in an hour.”
(A few things I’m with family with the whole time this sale is going on so I won’t be able to show off what is highlighted everyday. Also the winners of the last to giveaways will get there games it may just take a bit. Have a great winter Sale and happy holidays!)
I’m in the car, but I wanted to post this while my internet was still intact! For @x-i-l-verify ’s Voltron Daemon AU
(More info about her AU here !)
, Pidge has been typed as a green and bronze poison dart frog, while Hunk has been typed as a bumble bee! (They’re buddies!!)
1940s gelatin silver photograph of tempting, blonde, B-movie actress Adele Jergens. A seductive and glamorous cheesecake pin-up portrait, Jergens shows off her curvaceous figure in a leopard print bikini. A truly tempting old Hollywood artifact!
Fewer dames were tougher on the 40s and 50s screen than leggy (5'9") “B” star Adele Jergens, the tough-talking, plump-cheeked peroxide blonde who gave her fair share of tawdry trouble in backstage dramas, film noir, crime potboilers, and adventure yarns. She was just as headstrong at trying to bust out of the chorus lines and cheesecake parts to become a topnotch “A” actress draw. She failed in the latter but nevertheless left a respectable Hollywood legacy for the host of hard-as-nails babes that did leave an impression.
Born on November 26, 1917, in Brooklyn New York, the youngest of four to working class Norwegian parents, she was christened Adele Louisa Jurgens (some sources say Jurgenson) and started her youth as a sports-minded tomboy before setting her young teen sights on an entertainment career as a dancer. After years of study (she earned a scholarship) at a Manhattan dance studio and following her graduation from Grover Cleveland High School, the knockout-looking 18-year-old found her way into the Broadway chorus line (billed as Adele Jurgens, her real name) of the Moss Hart/Cole Porter musical “Jubilee!,” which introduced the classic Porter songs “Begin the Beguine” and “Just One of Those Things” and starred Melvin Cooper and Mary Boland as the King and Queen and a young Montgomery Clift as Prince Peter.
The John Robert Powers Agency saw in Adele top runway model potential and quickly signed up the gorgeous girl and her gams. She willingly played the starlet game by being squired around town by big Broadway stars and handsome male eligibles, and finding promotional titles to further attract pin-up attention – “Miss World’s Fairest” at the New York 1939 World’s Fair, as well as “The Champagne Blonde” and “The Girl with the Million Dollar Legs”. She was even dubbed “The Number One Showgirl in New York City” at one point. By this time she had revised the spelling of her last name for the stage (Jergens). In between modeling assignments, Adele found dance work in other in cabaret revues, nightclubs, in the Rockette chorus line, and in such Broadway shows as Cole Porter’s “Leave It to Me!” (1938) again starring Gaxton and Moore and co-starring “My Heart Belongs to Daddy” singing star Mary Martin; Cole Porter’s “DuBarry Was a Lady” (1939) with Ethel Merman belting out “Well, Did You Evah?” and “Friendship”; “Louisiana Purchase” (in a replacement role) (1940), “Banjo Eyes” (1941) starring Eddie Cantor and the burlesque revue “Star and Garter” (1942) in which Adele had a featured role while understudying one of its headliners, Gypsy Rose Lee. She went on for Ms. Lee, Hollywood took immediate notice with Twentieth Century-Fox signing her up.
Adele started at the bottom rung at Fox with the usual decorative showgirl or good time girl parts in the musicals Hello Frisco, Hello (1943), Sweet Rosie O'Grady (1943), The Gang’s All Here (1943) and Pin Up Girl (1944). When Fox dropped her option she was snatched up by Columbia in a seven-year contract. After minor parts again in the musicals Dancing in Manhattan (1944), Tonight and Every Night (1945) and State Fair (1945), she was entrusted with the lead femme role as Princess Armina of Baghdad in the Eastern adventure _A Thousand and One Nights (1945) starring Phil Silvers and handsome Cornel Wilde as Aladdin. She also displayed a brusque comic flair as the aptly-named Allura in the Rosalind Russell comedy She Wouldn’t Say Yes (1945) as an hilariously-accented blonde briefly competing for Russell’s man Lee Bowman. Adele also top-lined her own musical albeit the quickly forgotten When a Girl’s Beautiful (1947) which co-starred Marc Platt and Stephen Dunne.
After a lull, the former WWII pin-up (once nick-named “The All-American Girl” by the men of the 504th parachute infantry) was now being billed by Columbia as “The Eyeful” and returned to the musical genre with the fantasy Down to Earth (1947). Rita Hayworth plays a heavenly muse who, disturbed by a Broadway musical below the clouds that is mocking Greek mythology. Turning mortal, she takes things in her own hands by turning mortal and (not easily) replacing the show’s tough-talking original goddess Adele Jergens in order to manipulate the proceedings. Adele gets to tap and sing (dubbed by Kay Starr) before she is fired.
Outside of musicals, the hard-looking blonde (especially when her hair was let down), Adele started making headway in crime dramas and film noir starting with a nifty featured role as a glamour girl in The Corpse Came C.O.D. (1947). She followed that with hard-boiled roles in I Love Trouble (1948), The Dark Past (1948), Edge of Doom (1950), Armored Car Robbery (1950) and Side Street (1949). For the most part, however, it was the usual over-served hash that, while keeping her busy, also kept her locked in the “B” support ranks – The Prince of Thieves (1948), Law of the Barbary Coast (1949), Slightly French (1949), Make Believe Ballroom (1949), Aaron Slick from Punkin Crick (1952), Somebody Loves Me (1952) – when not leading in inconsequential material such as Ladies of the Chorus (1948) (as Marilyn’s Monroe’s mom), The Mutineers (1949), The Woman from Tangier (1948), The Crime Doctor’s Diary (1949) and the serial Radar Secret Service (1950).
Treasure of Monte Cristo (1949) was notable for the casting of Adele and future husband Glenn Langan. One might think that gorgeous Adele would end up a divorcée many times over, but she and Langan, who wed on October 6, 1951, stayed married until his death almost 40 years later. The 1950s, following good parts (Sugarfoot (1951)) but far more routine ones (Beware of Blondie (1950), The Traveling Saleswoman (1950), Blues Busters (1950)), Adele moved into TV work. After having son Tracy in 1953, Adele took a brief break from her career, then resumed it and found work on such programs as “Dangerous Assignment,” “The Abbott & Costello Show,” “Mr. and Mrs. North,” “Make Room for Daddy,” “The Public Defender,” “I Married Joan,” “My Favorite Husband” and “The Burns & Allen Show”. Co-starring on film with husband Langan again in The Big Chase (1954), Adele worked for a couple more years then left the business as the quality of her movies diminished with tawdry roles in Fireman Save My Child (1954), The Miami Story (1954), The Lonesome Trail (1955), Girls in Prison (1956) and Runaway Daughters (1956). She never returned but husband Langan continued his career until the early 1970s, and he also dabbled in real estate.
Glenn Langan died of cancer in 1991 and their only child, 48-year-old Tracy, who had become a film technician, died in 2001 of a brain tumor, which devastated the actress. Her health declined quickly after her son’s death; she died the following year of pneumonia on November 22, 2002, just days before her 85th birthday.