i really wish i remember where i found this one

Found this among my fic docs. Apparently I started writing this first week of October (I don’t remember anything). Can someone tell me where I was going with it, caue I don’t remember. Or where you wish I’d go with it. I don’t know.

He spots Guy sitting at the bar, and he walks over there. Not so much because he’s looking for company, but because that is where the bartender is, and Booster never really drinks all that much, but he could sure use it now. He’s just a few feet away when he follows Guy’s line of sight and sees what – who – Guy is looking at. Kyle’s sitting in a booth, arm slung across the shoulders of an alien lady, drinking, talking and laughing along with John and Hal who are also in the booth. Booster wonders why Guy’s sitting alone at the bar instead of with them, and he wonders about the intense way Guy is watching Kyle, and only Kyle at the other table.

Booster sits down next to Guy, the other man glancing at him out of the corner of his eye – the man’s drunk but not so drunk he isn’t aware of his surroundings.

“You in love with him or something?” Booster asks, irritable because what does Guy have to be broody about? They kicked the big bad’s ass, or well at least they must have. Booster wasn’t there when it happened, too busy fighting the reanimated corpse of his best friend, and he shudders and feels sick just remembering it. It’s over though, and a whole bunch of people who were dead are suddenly alive again, but not Beetle – not Ted.

“He’s got a girlfriend,” Guy says, before taking a swig from his bottle, he doesn’t look at Booster though, eyes never leaving Kyle, and something like recognition and empathy twists in Booster’s chest, but not before the surprise that Guy doesn’t deny either the claim that he is in love with Kyle, or the implication that he’s anything but straight.

Booster turns away - can’t look any more – he orders a beer instead from the bartender. They drink and don’t talk for a while, until Booster catches movement to his side. Guy turning towards the bartender and ordering another beer.

“I’m sorry,” Guy says after a moment. Booster doesn’t have to ask what for, but the man sounds so genuinely sincere and all Booster wants to do is punch him in the face. He grips the beer bottle a little tighter. Trying to ignore his stomach twisting with anger and the clump in his throat from how unfair it all is.

Lyrics in Sherlock

Last night, in having a conversation with @softbunny52, I came to an epiphany.

So in the first two series, the only music we get that has lyrics is all tied with Moriarty, such as “Staying Alive” and “Sinnerman.”  That’s really it for lyrics in the entire first two series.  With so little lyrical music, it becomes easy to draw the connections between them, which in this case is obviously Moriarty.  All of these moments have something to do with him and thus lyrical music becomes a good shorthand for Moriarty.

But in series three, we get more bits of music with lyrics, the main ones being “Donde Esta Yolanda” and “December 1963.”  (softbunny52 mentioned that there was also Rihanna’s “We Found Love,” but I don’t remember where or the context for that.  I really wish I could because that might add to or disprove this meta.  But anyways…)  None of these moments involve Moriarty, so what could that mean? 

Now, I’ve seen a lot of various meta floating around on “Donde Esta Yolanda” and “December 1963″ having some subtextual links to Johnlock.  (Really wish I had links to those metas, but I can’t remember them and, sadly, never actually save these things.  If anybody knows, please link me!)  But, if we hold to the theory of the previous two series, music with lyrics is tied very closely to Moriarty.  So in what ways can these moments be tied to him?  

I think the answer lies in who all is involved in and heavily tied to these moments: John, Sherlock, …and Mary.

Mary is this new edition into the dynamic of these two characters.  Moments with John and Sherlock never had music with lyrics playing in the background before.  It’s not until Mary is introduced that we see this new trend.  So it stands to reason that that she is the thing that is making these lyrics appear. 

Therefore, according to the theory above, she must be in some way tied to Moriarty as well.

To me, I think that this points to Mary working for Moriarty.  Definitively.  

Which could also mean that these moments between John and Sherlock are orchestrated by Mary and, by extension, Moriarty.  I don’t know what this means for the validity of these Johnlock moments yet, but it would be interesting to figure that one out.