Summary: series following the events of loot– takes place during events of star trek beyond. in this chapter, you play backseat driver.
A/N: they’re called starships for a reason, captain. my favorite part so far
Though the floor of the Franklin was covered in a thick layer of dust and dirt, you sat against it with your back pressed to the wall dividing the transporter pad from the console. You figured your comfort was more important than concerning yourself with the potential for a filthy uniform.
You rested your head on the wall, your eyes sliding shut for a moment before Scotty asked, “You’re not still angry at me, are you, lassie?”
You opened one eye halfway. “About what?”
“Telling Jim about the artifact— snitchin’ on you, as you called it.”
You craned your sore neck, stretching the skin that was painted purple, red, and yellow wherever Krall had gripped onto you. You looked over Scotty’s features, his forehead creased and his nose bunched over a deep frown.
You sighed and shook your head, answering honestly, “I was never mad about that.”
He pointed his nose down towards you. The confusion over his face was clear. “Really?”
“You did the right thing. I respect you for it— you’re a great Starfleet officer.”
“You’re not pullin’ my leg, are you?”
You snorted. “Scotty, I was only ever angry about you telling Bones that I was refusing medical care for a burn. And even that anger lasted five minutes, tops.” You sighed again. “It’s hard to be angry at a fundamentally good person.”
“Aye,” he replied, staring at the console again. “S’why we all forgave you so easily.”
“I’m not a fundamentally good person, Mr. Scott,” you laughed humorlessly, rolling your eyes as you tipped your nose towards the ship’s ceiling. “I stole that artifact, I lied to all of you, I—”
“So you made a few mistakes,” he shrugged. “You accepted your punishment without protest and have done nothing but help us all since you came aboard. S’quite honorable, eh, Chekov?”
Chekov nodded and leaned over the console to catch your eye. “You make the captain happy, too.”
You scoffed, tipping your nose down again so you could narrow your eyes at the bandage wrapped around your wrist. There was a tingling at the tip of your nose, a stinging in your eyes, and a pinching in your throat as you listened to what they told you. You couldn’t bring yourself to accept it.
“I think your captain might disagree.”
“With the way he’s been looking at you, I beg to differ,” Scotty chuckled. “That’s a man in love, lassie, dinnae let anyone make you think differently.”
The park was nearly empty, and that made the artist feel more at home. Quiet as it was, she heard the rumblings of the world in the city just outside of the park. Cars zoomed past and buses whooshed as they lowered for passengers, and all of the while, Clarke worked in her sketchpad, not minding at all the notion of an impending storm.
Overcast and almost gloomy, the thick, grey clouds refused to leak, at least for the moment, holding off for as long as they could, as if in favour to the city below. The whole day they waited, like an over-filled balloon so that it looked like at times even the tall buildings would pierce them.
John Podesta’s Pizza Party | Episode 3: “The Franklin Cover Up”
Listen up, we’re about to mansplain the shit out of this. The full crew of hosts are back this week to discuss MTV’s “White Guy Resolutions” video, #PizzaGate (of course) AND MORE IMPORTANTLY, the original PizzaGate aka The Franklin Cover-Up! A scandal involving the likes of former president George H.W. Bush, gonzo journalist Hunter S. Thompson, and Larry King (not that Larry King) getting tied up in a child sex ring and snuff video filmmaking. Other things are also discussed that are basically less important but still probably interesting to Hans’s mom. Kenney is also confirmed alt-right.
Clarke is a painter, and Lexa is blind so she has never seen her art.
“Down,” Lexa stated as she took her seat at an empty table. It was her empty table, and she trusted it to stay as such.
“Here you go, professor,” a familiar voice came from her right as she began to take her coat off amidst the hustle and bustle of the warm coffee house. “I saw you coming in. Figured I’d save you and Franklin a trip up front.”
“Thanks, Ms. Booth. How’s your paper coming?” Lexa smiled towards the voice as her hands found the cup of her favourite coffee on the table.
“Good. I’m excited for tomorrow’s lecture,” the barista promised. “We’re still on for office hours before class, right?”
“Please tell Mr. Hopkins that I look forward to his paper as well, and he’s welcome to office hours if he isn’t too busy hiding in the corner.” Though the teacher didn’t see it, the boy behind the counter burned bright red and furrowed, still accumulating evidence that his professor was indeed either not blind, as she stated, or a superhero.
“Have a nice afternoon, professor,” the waitress smiled, sharing a look with her coworker.
On this day in music history: May 24, 1968 - “Jumpin’ Jack Flash” by The Rolling Stones is released (US release date is on June 1, 1968). Written by Mick Jagger and Keith Richards, it is the eighteenth US (seventeenth UK) single by the iconic London based rock band fronted by lead vocalist Mick Jagger. In early 1968, Jagger is staying at band mate Keith Richards countryside home Redlands in West Wittering, Sussex, UK, while the pair are working on material for the next Rolling Stones album. Mick is awoken one morning by the sound of Richards’ gardener Jack Dyer walking past his window. When Mick asks who it is, Keith replies, “Oh that’s Jack, jumpin’ jack”. Jagger takes Richards statement, and is immediately inspired to begin writing lyrics. Keith comes up with main riff and chords that evolve into “Jumpin’ Jack Flash”, with the pair finishing the song quickly. The track is recorded at Olympic Studios in London on April 20, 1968 during sessions for the bands next album “Beggar’s Banquet”. Keith achieves the songs unique guitar sound by using a Gibson Hummingbird acoustic guitar tuned to an open D chord, then placing a capo on the neck. He then records the guitar (actually two guitars, with the second tuned to a higher octave) with a Philips cassette recorder using the players external condenser mic, then bouncing it back to multi-track tape. Issued as a stand alone single, “Jumpin’ Jack Flash” marks the Stones return to their trademark blues rooted sound after experimenting with psychedelic music on their two previous albums. In time, it is regarded as one of the bands greatest and most often covered songs. The single is backed with non-LP B-side “Child Of The Moon”. At the time of the singles release, it is accompanied by a promotional film directed by Michael Lindsey-Hogg (“Let It Be”), in which The Rolling Stones perform the song with all of the band members appearing with painted faces and heavy makeup. The songs title also becomes the basis of and major plot point of a Penny Marshall directed comedy in 1986 starring Whoopi Goldberg. Aretha Franklin records a cover of the song for the film, produced by Keith Richards, who also plays guitar on the track. The Rolling Stones original version of “Jumpin’ Jack Flash” hits number one on the UK singles chart, peaking at number three on the Billboard Hot 100 in July 1968, and is certified Gold in the US by the RIAA.