tntandgasoline (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
tntandgasoline) wrote2010-04-22 02:13 am
tntandgasoline) wrote2010-04-22 02:13 am
((OOC)) - 50 Sentences Meme
❶ Reply here with a pairing/one of my characters and a bunch of people
❷ Pick a theme set from the![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif)
1sentence writing challenge meme
❸ I write 50 sentences (feel free to specify a rating!)
❹ PROFIT
My guys:
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
tntandgasoline > The Joker
cannotemotealie > The Emoticon
iknowucan > Ryan Evans
takeitoutofpark > Hikaru Sulu
hatsandguns > Jayne Cobb
nopodbaydoors > HAL-9000
aaaadventure > Flapjack
I ESPECIALLY ENCOURAGE FLY-BY-NIGHT PAIRING IDEAS AND GROUPINGS ANYWHERE FROM SPECIFIC CHARACTERS TO "CHARACTERS WITH USERNAMES THAT START WITH A". Also feel free to suggest characters who are no longer here or canonmates that I've never had. BASICALLY I WANT YOUR PROMPTS SO I HAVE SOMETHING TO DO TOMORROW IN CLASS. SERIOUSLY. PLEASE GIVE ME SOMETHING.
❷ Pick a theme set from the
1sentence writing challenge meme❸ I write 50 sentences (feel free to specify a rating!)
❹ PROFIT
My guys:
tntandgasoline > The Jokercannotemotealie > The Emoticoniknowucan > Ryan Evanstakeitoutofpark > Hikaru Suluhatsandguns > Jayne Cobbnopodbaydoors > HAL-9000aaaadventure > FlapjackI ESPECIALLY ENCOURAGE FLY-BY-NIGHT PAIRING IDEAS AND GROUPINGS ANYWHERE FROM SPECIFIC CHARACTERS TO "CHARACTERS WITH USERNAMES THAT START WITH A". Also feel free to suggest characters who are no longer here or canonmates that I've never had. BASICALLY I WANT YOUR PROMPTS SO I HAVE SOMETHING TO DO TOMORROW IN CLASS. SERIOUSLY. PLEASE GIVE ME SOMETHING.
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50 Sentences From the Vaguely Neurotic Point of View of One Hikaru Sulu [1/3]
---
1. WALKING;
Neither Sulu nor Ianto can miss the irritation on Jack's face when Sulu stops by to wander around Cardiff with Ianto; instead of letting the man sulk, Sulu insists he come along and doesn't take no for an answer.
2. WALTZ;
Trying to dance around Ianto and Jack's borderline-ridiculous issues is almost impossible and so, eventually, Sulu gives up and confronts any tense moment between them head on.
3. WISHES;
It's not that Sulu doesn't like Jack, really, but he wishes the blockhead would catch himself before hitting on him in front of Ianto (no matter how harmlessly)...
4. WONDER;
...He also wonders how Jack feels when Ianto starts to sort of do the same.
5. WORRY;
The general concern when they take to going to bars ("pubs," Sulu reminds himself) is that one of them is going to drink too much and destroy the balance between harmless flirtation and serious propositioning.
6. WHIMSY;
When Sulu notices how Ianto and Jack keep secrets (Ianto simply omits things he doesn't want to talk about, while Jack buries them under fanciful stories), he can't decide which way is more unhealthy.
7. WASTE;
It's a complete waste of money that Sulu technically doesn't have, but Ianto had insisted that leather jackets were all the rage - not that Sulu doesn't notice how the other looks at him (or how Jack does, either, but that's sort of expected).
8. WHISKEY & RUM;
Sulu's later surprised when it's him who wrecks the delicate balance between flirting and propositioning after a long night of drinking, but that's not nearly as surprising as Ianto being pretty much all for it.
9. WAR;
The morning after, it's like a bomb went off; Sulu makes a strategic retreat before the situation gets even more out of hand and hopes the two of them sort out how this is going to affect them, instead of ignoring it.
10. WEDDINGS;
It's relieving and amusing when Ianto calls him up and, with great ceremony, tells him to come to Cardiff for dinner; after a week of awkward conversation, dinner proposals are definitely a step in the right direction.
11. BIRTHDAY;
Pavel asks Sulu in clumsy English what he wished for when he blew out the candles on the replicated cake he'd gotten for his co-pilot; Sulu grins and says, "Courage that isn't liquid, mostly," even if that's too obscure for Pavel to understand.
12. BLESSING;
It's sheer luck that there's no alcohol around the next time Sulu goes to Cardiff; it's a blessing that Jack is fine with making the first move while sober.
13. BIAS;
Sulu tries very hard to divide his attention equally like Jack can, but Ianto still seems to gain the most of it - as if Jack even really minds.
14. BURNING;
This sort of intensity usually doesn't last long, and Jim's starting to ask why he needs to head to Cardiff almost every other day, but Sulu's usual disengaging maneuvers just don't work with either Ianto or Jack like they would with anyone else.
15. BREATHING;
It's hilarious to Sulu that he's almost subconsciously using his physiology lessons to interpret Ianto's breathing; Jack makes fun of him for being such an academic - especially in this kind of situation - and points out that they hardly need to check Ianto's blood pressure to see how he's feeling.
16. BREAKING;
(Later, he'll use those same lessons to gauge Jack's emotional state, but it won't be funny.)
17. BELIEF;
Sulu asks Ianto if he's uncomfortable with this whole situation - after all, he'd been anxious enough over one guy - but Ianto just shrugs and does that hand-waving thing Sulu had noticed earlier on.
50 Sentences From the Vaguely Neurotic Point of View of One Hikaru Sulu [2/3]
It's like a weight off his shoulders when he finally explains to Jim the whole situation; he gets kindly chewed out for not telling him sooner and then made fun of for going from gender-neutral nouns to plural he, but at least he told the one guy he swore not to keep secrets from.
19. BALCONY;
When Ianto and Jack start for each other's throats for whatever reason, Sulu gets very tempted to hide out with the pterodactyl until they calm down.
20. BANE;
When Sulu's unable to get away from the Enterprise for a while, he becomes the bane of Ianto's existence - it's amazing how he can find all varieties of alien costuming (most of it meant for females) and Sulu really enjoys sending them to Jack to surprise Ianto with.
21. QUIET;
Sometimes, Sulu thinks that he likes Jack best when he's asleep.
22. QUIRKS;
Sulu has a habit of waking up early and leaving before Jack or Ianto can wipe the sleep out of their eyes - it's not them, it's just how things have to be, as far as Sulu can tell.
23. QUESTION;
Ianto asks Sulu why he's always out of Cardiff before there's even a pot of coffee to wake him up, but Sulu distracts with another question and avoids the topic altogether - hypocrisy at its finest.
24. QUARREL;
After a while, Sulu realizes that he's become damage control for Ianto and Jack's arguments, no matter how small they are.
25. QUITTING;
One day, he gives up on playing middle-man and forces the other two to sit down and talk, feeling a little too much like a mother disciplining her children for his comfort - but at least Jack gets to see him tell Ianto off for once.
26. JUMP;
Sulu grew out of rash decisions a long time ago, but when Jack and Ianto round on him with their particular expressions, he ends up jumping blindly into whatever they've got cooked up.
27. JESTER;
It's actually the hilariously awkward moments that are fondest to Sulu - probably a case of schadenfreude and masochism.
28. JOUSTING;
Occasionally, Sulu can't resist getting into verbal sparring matches with Jack, who really is disturbingly like Jim, to the point where this could be considered transference - and isn't that a disturbing thought?
29. JEWEL;
"It's good that the best things in life are free," Sulu says, "Because there's no way I can afford to buy either of you fancy gifts."
30. JUST;
It's only fair for Sulu to take a step back from time to time and give Ianto and Jack their space - they all have jobs to do, and Sulu is the third wheel here, after all.
31. SMIRK;
He ends up mentioning this fact to Jack, who gives him the smuggest look possible before grabbing him by the arm and dragging him off to prove how wrong he is.
32. SORROW;
(It'll be clear he was just trying to make Sulu feel better, later, when he's too busy trying to outrun bad memories to ask how Sulu feels, but the helmsman will hardly blame him.)
33. STUPIDITY;
They've all done stupid things in their lives, but getting themselves locked in the hot house is probably the stupidest.
34. SERENADE;
It's impressive how many drinks it takes before Ianto makes any bar a karaoke bar - at least to a lightweight like Sulu, it is.
35. SARCASM;
Jim notes one day how much quicker Sulu is to resort to sarcasm than before, but he seems more entertained by it than anything - then again, that could be more of that could-be transference talking.
36. SORDID;
Sulu's pretty sure that there are still places in the 23th century that would consider what they're doing tonight illegal, which just makes it all the more fun.
50 Sentences From the Vaguely Neurotic Point of View of One Hikaru Sulu [3/3]
It's a terrible thing to think, but Sulu's pretty sure that this is going to fail, especially when considering statistics; he thinks too much about it sometimes, to the point where people physically stop him and ask what's wrong (he always tells them that it's nothing, even if it's Jim, because this is one thing he has to keep to himself).
38. SOJOURN;
The Enterprise crew gets shore-leave on an absolutely amazing, lush planet for a week; for one of those days, Sulu has Jack and Ianto stay with him, just to see what the place was like.
39. SHARE;
It becomes apparent to Sulu that none of them are really that great at sharing, though it's at different levels and for different reasons.
40. SOLITARY;
Given the fact that Sulu used to spend so much time alone in the botany lab, it's surprising when he starts eating with people and chatting with them - one of the positive influences of having two people around you constantly, he supposes.
41. NOWHERE;
"Nowhere I'd rather be" is such a trite exclamation, but Sulu's feeling a little cliched tonight.
42. NEUTRAL;
The longer this goes on, the less safe ground there is; something either annoys or upsets or turns one of them on, so it's sort of like playing emotional Russian roulette - but Sulu really isn't complaining.
43. NUANCE;
Sometimes, it's the little things, like the color of eyes or the curve of mouths, that makes this whole thing work.
44. NEAR;
Sulu tries to escape one morning, as usual, but Ianto grabs him around the waist and pulls him close; Jack rolls over and does the same, making it impossible to move.
45. NATURAL;
When Sulu asks Jack if it's wrong to feel so intensely about the two of them, he grins and points out that attraction to beautiful people is never wrong - in fact, it's so normal that it should be embraced.
46. HORIZON;
Whatever Sulu was trying to tell them last night while they were drinking, it's gone by the time the sun rises - none of them are sure if that's a good thing or not.
47. VALIANT;
"I admire your efforts, I really do," Jack says around the third time Sulu fails to escape, Ianto sleepily nodding against his back in agreement, "But you might as well give up."
48. VIRTUOUS;
It's around this time that Sulu decides to stop pushing to be the third wheel - selfish or not, he's tired of cautiously removing himself from the preexisting relationship like he's causing them problems.
49. VICTORY;
Ianto looks particularly smug when he doesn't have to help Jack pin Sulu down to get him to stay...
50. DEFEAT;
...And he laughs openly when Sulu grabs his white undershirt from off the floor and waves it over his head in mock defeat.
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Thus Spoke Zarathustra in 50 sentences about Joker/Cuddy, without any Nietzsche involved [1/3]
Lisa takes as long and convoluted a route back to the hotel as possible, but she can still feel him following her - no matter how improbable it is, he seems to have found her.
2. WALTZ;
"I heard," he says to her over the community, "That I'm supposed to like dancing - uh, with the devil, I think - and I wonder if you're supposed to dance too."
3. WISHES;
God, if only he would leave her alone!
4. WONDER;
She wants to ask him, sometimes, about the scars, but she knows better.
5. WORRY;
Its Rachel she's most worried about when he starts showing his interest in her, but a selfish part of her is scared for her own safety.
6. WHIMSY;
His stories start to get more fantastical when he's excited about whom he's talking to; the lies he tells Lisa, he thinks, are his best.
7. WASTELAND;
"I'll burn this city to cinders," he says over the phone, staring at the hotel room that he imagines she's in, "Unless you come to dinner with me - alone."
8. WHISKEY & RUM;
He tells her that he used to be in AA as he orders a drink at the hotel bar; she's too distracted by latex expertly covering his scars to listen.
9. WAR;
Then, he tells her about how his father died in Vietnam; she's too busy noticing that he's a natural blonde to pay attention.
10. WEDDINGS;
He talks about his first marriage and how the bride wore red; she's too repulsed by the fact that he looks so normal to believe him.
11. BIRTHDAY;
She's horrified that she thinks he's almost attractive like this, but he finally grabs her attention by mentioning Rachel's birthday (something about getting her a present - God knows what he'd get her, but she knows she doesn't want him to).
12. BLESSING;
When the check comes, she heaves a sigh of relief; he pays in cash, leaves an inordinately large tip, and insists on walking her to the elevator.
13. BIAS;
"If I didn't know better," he giggles, "I'd say you like this lie better than the real me."
14. BURNING;
Azula is in the elevator and, when the doors open, the Joker curses and laughs as he's chased out by fire-encased fists - looks like they'll really, really need to find a new hotel.
15. BREATHING;
When she answers the phone, she's half surprised that he doesn't just breathe into the receiver; instead, he assures her that the city is safe and that she had been a lovely piece of eyecandy - and since she still remembers him looking normal, that's momentarily flattering.
16. BREAKING;
His next post is a video of him, back to greasepaint and scars, dancing around to experimental polka music; she can't see that handsome, normal person in him anymore but nonetheless, her resolve to be repulsed by him has been worn down a little.
17. BELIEF;
He knows that she thinks there has to be some truth in him, somewhere; he has a feeling that it'll be extra fun to prove that she's wrong.
18. BALLOON;
He talks about filling a balloon with anthrax and then letting it float away into the sky; she logs off after that and refuses to talk to him for weeks.
19. BALCONY;
He stakes out the new hotel for those weeks of non-communication, watching the balcony of her room from an alley beside a Starbucks - "And Juliet is the sun," he sings.
20. BANE;
He doesn't hide the fact that he's constantly watching her, even if Azula is around; he can see the transformation from anxiety to exasperation as it occurs and he knows, he knows, that eventually, he'll get his way.
Thus Spoke Zarathustra in 50 sentences about Joker/Cuddy, without any Nietzsche involved [2/3]
It's only after he sees the lights go out that he slinks up to the fourth floor hotel room and uses a maintenance card to open the door; nobody was stirring, not even a mouse.
22. QUIRKS;
She folds her socks like someone with a control problem - the underwear drawer, though, that denotes slight OCD tendencies.
23. QUESTION;
"Are you strange, Doc - strange without admitting to it?"
24. QUARREL;
He shouldn't have said a thing; she's hyperaware and snaps awake, and is quick to throw anything that isn't nailed down at him.
25. QUITTING;
"Quit it," he growls, getting a hand on her throat - and where in the world is her knight in shining armor, he wonders?
26. JUMP;
This is more like a mugging than he prefers; jumping people in back alleys or dark hotel rooms is so banal, he can hardly stand it.
27. JESTER;
"A patient shows up at the doctor's office," he says, ignoring her kicking and punching as he sits on her stomach and holds her by the neck, "saying that he's seeing pink striped crocodiles every time he tries to sleep - the doctor asks him if he's seen a psychiatrist," he giggles and leans in, "'No,' says the patient, 'Only pink striped crocodiles.'"
28. JOUSTING;
This is one of those moments where Lisa can really prove to him that she's a strong, capable woman; unfortunately, she's too busy trying to get away to do any kind of proving at all.
29. JEWEL;
He lets her go after a minute and flees as quickly as he came in; she sits there shaking for a while until she sees that he's left a ring on the nightstand - like a hint at a secret.
30. JUST;
It's only when Azula bursts into the room, moments too late, that Cuddy realizes that she just barely escaped a very bad situation.
31. SMIRK;
He sits in front of the computer and watches the community for hours, smugly satisfied when Cuddy doesn't post about what had happened - nor does Azula, which is just so peculiar.
32. SORROW;
After a few days, she starts feeling sorry for him - it's as though stalking is the only way he can interact with women.
33. STUPIDITY;
The pity isn't helped by the fact that she can't forget how normal he could look; it's just a trick, she thinks, but that doesn't change the fact that it's worked.
34. SERENADE;
She wears her headphones and starts listening to his last voice post on repeat, trying to pick some form of normalcy out of the giggling tirade on art culture.
35. SARCASM;
"Oh, yes, Joker, I'm completely intrigued by you," she types, but the sarcasm won't float through text - especially when it's not really a lie.
36. SORDID;
The Narrows are an absolute mess (like him), but Lisa keeps her eyes on the map in hand - she's going to put an end to this, one way or another.
37. SOLILOQUY;
He can see her approach, can practically feel it, from the boarded up window in his room; he imagines what she might be expecting and thinks of just how he can tear her expectations to pieces.
38. SOJOURN;
She hadn't told anyone about this trip she's now making - they might only find out when she disappears.
39. SHARE;
His paranoia is obvious when he scrambles to let her in, checking over her shoulder and double-locking the door after her, like he was expecting her to have given the directions to someone else.
40. SOLITARY;
There's nobody in the house, she realizes; nobody but him and her and that's sort of like being locked in a tiny room with a dangerous, rabid dog.
41. NOWHERE;
He circles her, giving her no way out - as if the locked door and her actually being there hadn't already tipped her off.
Thus Spoke Zarathustra in 50 sentences about Joker/Cuddy, without any Nietzsche involved [3/3]
There is no safe ground here; every move they make, every word she says, every demand she makes for him to leave her and her family alone - not only do they fall on deaf ears, but they only incite the riot boiling under his skin.
43. NUANCE;
She notices the way his eye twitches when she says Azula's name, like he wants to smile or laugh or scream, and the way his mouth twists when he smiles, showing all the cracks in his chapped lips.
44. NEAR;
When he steps towards her, spiraling in from a wide circle to a narrow one, she makes no move - she knows that it would only excite him, and she doesn't want him excited.
45. NATURAL;
"Don't you realize, doc," he says as slaps a hand over her mouth and stops her arguing, "that this is the only way this could have ever ended?"
46. HORIZON;
If eyes are windows to the soul, like they say, Lisa can't see a damned thing, no matter how far back she looks - there're just miles and miles of bad intentions with no light rising to chase them away.
47. VALIANT;
"It was a good try, you know, coming here as though it was your plan all along."
48. VIRTUOUS;
She's a shining beacon of all the things people like about the world - like Harvey: a bureaucrat with a pretty smile, brains and good intentions.
49. VICTORY;
That's what makes it so delicious, when he gets her in bed with him, all scratchy and bitey and stubborn down to the very, last, drop.
50. DEFEAT;
In the end, though, he's dismayed to find that - unlike Harvey - she's not so easy to break, and she's not young enough to be ashamed of one bad mistake.
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Also Delta.