You’re a fool, he sends back, but it’s helplessly affectionate, tinged with concern as Charles strains his injuries laughing like an idiot, and he closes his eyes when Charles presses their brows together. From a telepath, he always finds that gesture endearing, even romantic.
His power should have been to stop time, so they could stay like this. So they could stay together and not have to worry about what was coming.
---
Not the first time I've been called a fool, if you can believe it, Charles' tone is wry, and he tips his head, kissing Erik rather more chastely than their norm. But the offer is there, albeit reciprocated a bit late. You fucking irresistible metal-bender, you
( ... )
Under other circumstances, that would be a challenge to leave bite marks anywhere and everywhere he could just to see Charles wince over them later. Under these circumstances, he is achingly gentle despite Charles's provocation, keeping his hands light--especially the injured one, he has to remember that--while still possessive. Every bruise, every cut, every welt from the restraints is painstakingly found and mapped, either by Erik's fingers or his mouth, as if he could erase them that way. It scares and enrages him, of course, to see any kind of abuse on Charles, but he pushes those thoughts aside as best he can where they can't bother either of them, and tries to concentrate on just this, just the moment, just the physical.
And Charles, for his part, allows it. He's not quite sure what to do with his hands, besides curl whichever one Erik is not currently engaged with in his hair, against his cheek.
When we get out of here, I'm buying you an Aston Martin.The comment is idly made, a reference to a memory that he'd shared with Erik early on into the more physical side of their relationship, of a girl with lips to match the cherry red of her father's car. He's not sure why he says it now, except to drive home the fact that he is very much expecting that they'll survive, that they'll have as many tomorrows as either of them could ever expect or hope for, and that Charles fully intends to spoil him as rotten as possible for the duration of that time. There's no good in knowing a millionaire if he doesn't indulge you once in a while, yes
( ... )
If you do, you're not allowed inside it while wearing tweed.His retort is half-hearted, distracted by what he's doing and also not entirely sharing Charles's optimism and trying not to let on about it. The gentleness, the patience is forced, an iron wall holding back the desperation that makes him want to be rougher and faster and reckless, using Charles to bury his own anxiety. That isn't how he wants to do this. That isn't the memory he wants to look back on
( ... )
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His power should have been to stop time, so they could stay like this. So they could stay together and not have to worry about what was coming.
---
Not the first time I've been called a fool, if you can believe it, Charles' tone is wry, and he tips his head, kissing Erik rather more chastely than their norm. But the offer is there, albeit reciprocated a bit late. You fucking irresistible metal-bender, you ( ... )
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When we get out of here, I'm buying you an Aston Martin.The comment is idly made, a reference to a memory that he'd shared with Erik early on into the more physical side of their relationship, of a girl with lips to match the cherry red of her father's car. He's not sure why he says it now, except to drive home the fact that he is very much expecting that they'll survive, that they'll have as many tomorrows as either of them could ever expect or hope for, and that Charles fully intends to spoil him as rotten as possible for the duration of that time. There's no good in knowing a millionaire if he doesn't indulge you once in a while, yes ( ... )
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