Unrelated Worm One Shots

Family Dinner
Written for the final round of the Cauldron Blitz Cup, with the Following prompt: The main character accidentally burns their pizza.


It's almost 7 pm and Taylor is hungry.

Her dad isn't at home, and she doesn't know where he is. She doesn't know where he was yesterday, either, and Wednesday, and Tuesday, and Monday. She barely saw him all week. She thinks maybe he forgot about her.

Taylor is hungry, and lonely, and she wants to call her dad, but she can't. He doesn't have a phone anymore.

She doesn't know where her dad is, but she knows he came home last night. She found his clothes in the laundry machine. He's alive. He's not dead, not like her mom. Her mom is dead.

Her dad isn't gone. He's just too sad to care about her.

Taylor doesn't feel very well. Her head is kind of dizzy, and she's very, very hungry. She ate snacks and yoghurt yesterday, and Wednesday, and Tuesday, and Monday, and this morning she ate the last of the cereals, and the closet and the fridge are empty. Except for the steaks, but her mom bought them, and they survived her they smell weird, and
Taylor really doesn't want to touch them.

Maybe there's ice cream in the freezer?

She looks in the freezer. There isn't any ice cream, only some peas and a frozen pizza. She could warm the pizza and eat it.

Taylor isn't supposed to use the stove or the oven when she's alone at home, and her dad isn't here.

She's not a baby. She knows how to cook a pizza. She has seen her mom her parents adults do it hundred of times on weekends when she has sleepovers with Emma. It doesn't look that hard. She's sure she could do it.

Taylor is very, very hungry, and her dad isn't here, hasn't been here all week, not really.

Taylor turns the oven on, puts the pizza in, sits at the kitchen table, and waits.

And waits.

And waits…


***


Taylor wakes up to a kitchen full of smoke.

She doesn't understand, at first, blinking uncomprehendedly, and then a part of her points out that "smoke" might mean "fire".

"Dad!" she cries out. "Mom!"

There is no answer. Her mom is dead Her dad isn't here.

Taylor coughs, lungs full of smoke, and pulls the collar of her shirt over her nose, and then she turns off the oven and opens it. More smoke billows out and, blinded by her fogged glasses, she stumbles toward the window to open it wide and turns on the ceiling fan, and then goes to wait outside until it finally clears out.

When she finally pulls out the pizza, it's burnt, charred, completely inedible, and her eyes are full of tears.

It's the smoke. It's only the smoke.

Taylor is hungry, like she was yesterday, and Wednesday, and Tuesday, and Monday.

Taylor is alone


***


"Hello Mrs. Barnes? It's Taylor. Could I eat with you tonight, if it's not too late? I wanted to see Emma."
 
More Nurturing Than the Desert
"Robin, could I ask you for a favor?" Armsmaster asks.

"Sure," Robin says. "What is it?"

"You know Hannah and I have to go to New York for a week," Armsmaster says, "And Samantha has the opposite of a green thumb. Could you take care of my plants while I'm gone?"

"Yeah," Robin says. "No problem. Just tell me how often I should water them."





It all started a year ago, when Shawn and Samantha teamed up to organize a Secret Santa with a hard upper limit of five dollars, with the stated goal of "team bonding". Poor Samantha then immediately got tasked with the duty of finding a gift for Armsmaster.

"Just get him chocolates," Robin had suggested. "Or, like, alcohol."

"Hannah says he doesn't drink", she had answered, miserable. "And I didn't think to ask if he liked chocolate. What if he's allergic?"

"Ask her again?" was all Robin had been able to say, and Samantha had looked even more despondent.

"She left to spend a few days with her family," she had said.

In the end, she had given Armsmaster a plant, gleaned from a neighbor trying to get rid of it.

"It's a spider plant," she had said. "It's pretty easy to take care off, apparently. You can keep it in your office, it would liven up the room!"

"My office doesn't have windows," Armsmaster had pointed out.

Despite his initial doubts, Armsmaster had bought a sun lamp, and put the plant on a shelf.

And then, a month later, he got another.

And another.

And another.





And now, every free surface in Armsmaster's office is home to a plant or a sunlamp, and the room looks like a sunny afternoon.

"…And if you have any doubt, I tapped a list of instructions to the door," Armsmaster says. "Don't forget to say nice things to them while you water them, it makes them grow better."

Okay, so Armsmaster is a bit weird about his plants.

Robin can't bring himself to be upset about it, though. He's been happier since he has them.
 
99 Bottles of Beer on the Wall
"We didn't invite the neighbor," Debra said over breakfast, and Bobby raised his head from his newspaper.

"What?" he asked, eloquently.

"The neighbor," Debra repeated, clicking her nails against the kitchen table, "the bachelor. We didn't invite him. We invited everyone else, but not him. That's rude."

"We did invite him," Bobby said in protest. "He said he couldn't come."

Debra gave him a flat, disappointed look.

"Not Hayden," she said. "The other one."

"I don't think he would come either," Bobby said, and refrained from mentioning that he found said neighbor quite intimidating.

"We can't not invite him," Debra said. Her tone left no room for arguments. "It would be rude."

And so, Bobby went to invite the neighbor. As the prospect of ringing the doorbell and waiting for him caused poor Bobby insurmountable terror, he instead elected to wait until said neighbor went to pick up his mail.

"Hey," Bobby said with all the bravery he could muster. "Wallace, right? Calvin Wallace?"

"Hello," the neighbor said, towering over Bobby. "It's Colin Wallis, actually. It's written on the mailbox."

It was, indeed, written on the mailbox in neat, accusatory handwriting.

"Did you want anything, Mister Gilmore?" Wallis asked, and Bobby realized that he had let the silence linger somewhat longer than appropriate.

"Yes!" Bobby said. "We're doing a, a cookout! On Sunday ! Everyone will be here! The Shephards, I mean, and the Atkinsons and the Holts, and Miss Rocha and her children! A nice, neighborly get together! Except for Hailey, he can't be there. My son Evan will be here, too, he's at the University now, I'm very proud of him and…"

Bobby took a breath.

"We'd like it if you could come?" he said.

"Well," Wallis answered. "I suppose I could. If only to make sure my neighbors of three years remember who I am."

"Great!" Bobby said, and he promptly went back home.

Colin Wallis watched him leave in confusion, then shrugged and took his mail inside.








"Sorry for being late," Michael Shephard said three days later, having just arrived to the Gilmores' house, "the babysitter for the twins canceled at the last minute. We took them with us, I hope it's not an issue?"

"Oh, it really isn't," Debra said. Behind her, Bobby took the socially acceptable out of cooing at the babies to escape the obligation of small talk. "Bobby loves children."

"I can see that," Leah Shephard said beside her husband, and then, "Is that Wallis? He doesn't generally come to this kind of thing. Looks like he's getting along pretty well with Heather."

"They're about the same age," Debra said, consideringly, "and two children are a handful for a single mother…"

"Mom, no!" Evan said. "Please. I heard them, she's telling him about bone collecting, that's all."

"Oh, look at the time!" Bobby interjected, eager to escape this line of conversation, "I'd better start the grill! Everyone must be starving!"

"Blllllblbllbblblbb", said one of the twins from her stroller.

"See? She agrees," Bobby said.

Debra laughed.







"It was nice talking to you," Heather said. "Everyone here is very nice and all, but I know bone collecting creeps them out, especially the nitty-gritty."

Colin shrugged.

"I've seen worse," he said, and he hesitated for a brief instant before continuing. "It was nice. It's been a while since I last talked about something that isn't work with someone who isn't a co-worker."

Heather smiled.

"You could come by, one of those day," she said. "Have a talk, maybe a drink. I'll show you my collection."

Behind her, the Atkinsons were saying their goodbyes, and the Shephards were already gone, the twins asleep in their strollers.

"You know," Colin said. "I think I might take you up on this."

It wasn't friendship, not quite, not yet. But it was, maybe, a step in that direction.
 
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The beginning reminds me of the stories by James Flaxman - it has something omnious, and a mix of the mundane and whimsy. Or Edward Scissorhands by Tim Burton.
And I mean that as a compliment :)
 
A Nice Cloud of Pixie Dust
Makayla Crane is a superhero.

Mom doesn't know, of course. She would say Makayla has school and homeworks and can't be up late or leave the house alone and that she needs to stop dreaming so much, but that's stupid. Makayla has superpowers now, just like Alexandria and Legend and Sweet Dreams and Daisy Bell, and they're very serious.

Makayla is going to be just like them.






Makayla is a superhero. Superheroes need costumes.

It has to be pretty, and cute. Like her wings. Not all ugly and serious and boring. And it can't be her nice dress with all the ruffles they got for Aunt Adele's wedding, because

Mom keeps it in the attic and it's locked.

Maybe she could use Trinity's tutu? She forgot it before she left, and she lives in Maine now, so Makayla can't give it back. And it's yellow, just like her wings!

Makayla puts on the tutu and the fairy mask from Halloween, opens the window, and flies.






Flying is super fun, and Makayla never wants to go back down ever again.

It's not like walking at all. It's not slow, or boring, and her wings never hurt like when she stands up too long or puts the left shoe on her right foot and doesn't notice. She can go super fast, or make looping! Or find crime!

Makayla is a hero now. She has to do cool hero stuff.






There's a cat stuck in a tree.

Makayla should get it down. That's the hero thing to do, right? Scion does it all the time, and he's the best hero ever, even if Makayla think Sweet Dreams and Daisy Bell are cooler. Sweet Dreams has a really pretty dress, and Daisy Bell has wings, like her, except they don't glow and she made them herself.

Makayla picks up the cat, and gets it down on the street, and an old lady tells her she's a good girl and gives her a chocolate.

Being a hero is really fun.






"Do your parents know where you are?" Daisy Bell asks, and it feels like when the cat ate all the whipped cream on Makayla's birthday cake and they had to eat boring fruit salad instead.

"I'm a superhero!" Makayla says. "I can fly, like you! Mom would just be boring and tell me to do boring stuff!"

"Kid," Daisy Bell says, and she doesn't sound happy like on TV, "You should tell her. It's dangerous."

Makayla flies away, faster than Daisy Bell can go.

It's not fair. She was supposed to be on her side.

Heroes aren't supposed to be boring.

It's not even that dangerous. Makayla has a secret weapon.






Makayla is a superhero, and superheroes fight bad guys.

It's not hard to tell the man in the alley is a bad guy. He has a gun, and he's yelling, and the lady in front of him looks very scared.

"Stop!" Makayla says, and the man laughs.

It feels like when Adam told her her fairy drawing was a mutant mosquito and called her stupid, and she doesn't like that.

She flaps her wings faster, spreading pixie dust, and the man screams, and

There is a noise, like a petard or a car, loud enough Makayla's ears hurt, and

There's red on the wall, chunky, like when Mom dropped the strawberry jam, and

The lady isn't moving.

The lady isn't moving at all.
 
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Shelter in the Storm
Quinn heard the music before they heard the sirens. It was low and high, swelling, deeper than anything they heard before, and it came from the sea.

They thought it was a tsunami, a wave. It wasn't. They wish it were. It would have been over faster.

It would have been over at all.

Stormkeeper down, the armband says. Believer deceased.

Quinn can barely hear it over the song, thrumming deep into their bones, its warning made useless by their own helplessness.

Some things are too loud for them to quiet.






The man on the ground has stopped breathing.

Quinn doesn't know how long it has been since they knelt down in the water and pressed their hands against his torn side, how long since they started their clumsy attempts at CPR, how long since his heart stopped beating, since they failed at the one little thing they could do, and…

They get up.

It's all they can do. Get up. Follow the arrow. Try again.

They don't even have blood on their hands. The water washed it off.






The song is shrill, high, piercing, beating against the inside of Quinn's head, painful enough they almost don't notice the way it suddenly swells around them, louder and louder and louder, a tidal wave of pain and danger.

There is a woman standing at the end of the street, calling out for people to come to her, promising shelter from the wave, and Quinn runs toward her, as fast as they can.

The water is heavy against their legs, slowing them down, and they try to stay up, to keep running, to go faster, fast enough, to just get there in time…






They didn't make it.
 
hands and eyes and teeth and hands
Written for the Cauldron Fic Spoops of 2021 for the following prompt:
A horror movie monster is after the Undersiders

Brian is woken up by the sound of his phone. It's five in the morning. The sun isn't even up yet.

Why the fuck is Lisa calling at that hour?

"What's going on?" he asks.

She doesn't answer immediately, but Brian can hear the sounds of her breathing and running and, if he listens carefully, what sounds like a high-pitched voice in the background.

"You need to find everyone else," Lisa eventually says. It's hard to hear her voice, choppy, disconnected, and he can't tell if the problem is with the signal or her being out of breath. "...Get to the loft to warn…"

A car passes in the street under Brian's window, blasting heavy metal at full volume, moud enough to cover Lisa's voice for a few sentences.

"Run," she says.

When Brian finally gets to the loft, Lisa is dead.






"I didn't do it," Alec says. "I woke up and she was like that. I was about to call you."

For a second, Brian doesn't know whether to believe it. Alec was there. Alec was there, alone with Lisa, and now she's dead.

Except Lisa wasn't in the loft when she called.

"She was trying to warn you," Brian says.

Alec looks at Lisa. She doesn't look back. She doesn't have eyes.

"I suppose she did," Alec says.

Brian tries not to think about her hands.






"I called Taylor," Brian says. "She's okay, and on guard. I tried to contact Coil, but he's not answering his phone, and Rachel isn't either."

One of her dogs was sick or hurt or something like that, and she wanted to spend the night with it. She probably forgot her phone, or the battery ran out.

Hopefully.

"We're getting Taylor first," Brian decides. "We know for sure where she is, and there could be a trap at Rachel's shelter. And if not, she has her dogs."

On the other hand, she's not aware something is wrong, but they have to start somewhere.

Lisa said to find everyone. Brian thinks…

Brian thinks she might not have been the only target.






"I'm not sure what woke me up," Alec says. "I think I heard a noise, like something falling. I almost went back to sleep straight away, but I decided to check who it was. You got there ten minutes later while I was looking for my phone."

"You really can't think of anything?" Brian asks, and Alec thinks about it.

"It's weird," he says, "and I was probably still dreaming, but I could have sworn I heard singing.






They're getting out of the car when they hear a scream coming out of the Hebert house.

A man's voice. It's not Taylor.

Fuck it.

Brian floods the house in darkness and gets inside.






There are three people inside the house. Taylor, her father, and a child.

The child is singing.

With the hand bone connected to the back bone...

Brian doesn't like this song, doesn't like the way it fits with Lisa's hands and tongue and eyes, but he doesn't have time to think about it, because Taylor, Taylor is bleeding.

There is a scalpel stuck in her shoulder.

And the arm bone connected to the neck bone…

The room is thick with bugs, and Taylor's father, kitchen knife in hand, is trying to push her behind him, to put himself between her and the child.

And the rib bone connected to the head bone…

He pushes the knife in, straight through the child's eye.

The child laughs.






The child doesn't die.

Of course the child doesn't die. Of course the child shrugs off the knife, the bleeding, the missing eye, and runs away with a mouth full of teeth and smiles.

Of course.

Brian calls back the darkness.






"We need to go," Brian says. "The neighbors probably called the PRT."

"Doesn't that mean that we should stay?" Taylor's father asks. His hands are on her shoulder, keeping pressure around the knife.

"Dad…" Taylor says, the bugs buzzing around them, deafening.

Realization dawns on her father's face.

"Oh," he says.






They pull the knife out and bandage Taylor's shoulder, and they go looking for Rachel.

Brian tried calling again. She didn't answer.

"The child", Alec said in the backseat of the car. "I couldn't sense… Something isn't right with that kid's nervous system. I don't think my power will work here."

Fuck.

They don't know anything about the child. Lisa probably could have gotten something, but…

Run, she said, but run where? To the loft? To her? To Coil?

Run away?

Brian wishes he'd gotten there in time to save her.






They reach Rachel too late.

She's dead.

She's dead, and her hands and her teeth and her dogs...

One of them is still alive.

It shouldn't be.

Nothing deserves to live like this.

(Brian doesn't think he can forget the snap when they break its neck.)






"We need to go to the PRT," Taylor's father says. "I don't know what is going on here, and I understand that you're… that you're villains, but that girl is dead and Taylor is hurt and that thing or that child obviously doesn't care about collateral damage. We need help."

Collateral damage.

The child killed Rachel's dogs. The child attacked Taylor in her home.

Aisha.






They ignore the protests of Taylor's father and decide to go fetch Aisha, to make sure the child doesn't go after her, that she doesn't end up alone and defenseless and dead with her hands and her teeth and her eyes and…

They get out of the car on the sidewalk before where Aisha lives, and there are a few seconds where Brian struggles with the keys and…

Alec is missing.






"Who are they?" Aisha asks, looking at Danny and Taylor. "Who is he? Is that blood? Brian, what's going on?"

"We're getting you out of here," Brian says.

Alec. It got Alec. It got Alec right behind them, less than a street across from her.

"Taylor," he says. "You really didn't notice anything."

She sways on her feet a little. She's pale. Too pale. The bleeding isn't stopping. Something is wrong with the wound.

"No," she says, distantly. "I'm… I can't focus?"

"We need to take her to an hospital," her father says, and he gestures toward Aisha. "Damn it, that girl is a kid and you want to drag her into that? One person already died, and another is missing! We're in over our heads and I refuse to let my daughter die over a fucking jail sentence!"

Two.

Two people already died.

He can't keep them safe.

"Okay," Brian says. "Okay. We're getting help."






Brian tries to call Coil again, and he gets no answer again.

He doesn't want to try going to his base. Not if it's like Rachel's shelter, with the dogs replaced by men. Not with Aisha there.

Taylor, for some reason, has Armsmaster's phone number. Somehow, she convinces him to come.

Half an hour. Half an hour, and help will get there.






They find Alec at the bottom of the stairs, all hands and spine and hands and hands and hands, and he shouldn't have so many.

He shouldn't have more than two.

Brian goes back upstairs, and they flood the building with darkness and bugs, and wait.

Help is still twenty minutes away when they hear it.

A child, singing in the hallway.
 
Dirty Hands Reaching Out
Inspired by a prompt by @Doctor Mod












This isn't how my day was supposed to go.

The thought is sudden and unbidden, tinted with more hysteria than conscious reasoning, and Alison dismisses it as well as she can.

In front of her, the wall crumbles and falls.

It's her fault. It's all her fault. She did this, with her own hands. It's her fault. If she could just control herself...

(He was bleeding.)

(He was bleeding and she did it.)

She doesn't understand how things could go this wrong. She doesn't understand what is happening.

Her fingers spasm. Twist. Writhe. Her fingers, deformed, distended and full of too many joints, bending in all directions like long, bony worms.

Her fingers, scratching at the ground, digging, burrowing, like they did into the wall, like they did in his arm before he managed to run.

She couldn't do that this morning. She couldn't and now she can and it doesn't make sense and God, what if she kills someone, what if her fingers slips inside someone's chest or throat or head, what if they don't escape in time, what if she tears them apart because she can't get a fucking grip?

Alison forces herself to exhale. Once, twice, three times. Deep, regular breaths, like on TV.

When she stops feeling like she's drowning, she focuses on her fingers. On calm, on stillness, on normal, unmoving hands.

She's not sure how long it takes. A minute, ten, thirty. Hours.

Her hands don't have a single scratch or bruise or broken nail. They're just… Dirty.

Standing amidst the rubble, Alison realizes she's crying.

She's going to go to jail. She… She destroyed a wall and a bit of the street and she thinks the building might come down and she hurt him and it's all her fault, none of this would have happened if she could just get a hold of herself, he wouldn't have been so mad if she had and she has… She has powers, she thinks.

She's a villain.

She doesn't dare wipe the tears from her eyes, doesn't dare take her hands near her face, and…

Sirens. Sirens and lights, green and white, black vehicles with purple stripes.

The PRT, coming to arrest her.

Maybe it's for the best, that they take her away before she can hurt anyone else.

They're getting off the vehicles, all dressed in black, black, mirrored helmets like faceless masks, and Alison doesn't run.

She doesn't want to be a villain, even if it means she gets sent to the Birdcage and she can never see mom and dad and Emmie and everyone ever again and…

A PRT officer is walking toward her.

"I'm sorry," Alison says, and she can feel her fingers twitch, feel the overwhelming need to extend them, to writhe, to scratch and burrow.

She closes her fists instead, her nails digging crescent into her palms.

"I didn't mean to," Alison says.

The officer takes off her helmet.

She has golden brown hair, short enough to fit barely brush the side of her jaw, hazel eyes framed with laugh lines, lips pulled into a reassuring smile.

She looks kind.

"I know," she says, and she steps forward. "I believe you, kid."

"Alison," Alison says.

"Alison," the woman says, taking another step, close enough to touch. "It's okay, Alison. I know it's scary, but I'm here to help."

She reaches out, softly clasps her hands around Alison's.

"It's going to be okay."
 
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The Wonderful Christmas of Mister and Mister Berry
Written for the Cauldron Secret Santa 2021 for the prompts "M/M holiday Fluff" and "Playing in the snow"


Sitting on the steps outside the door of his home, Scott Berry watches the snow fall.

It's beautiful.

Part of it, of course, is the inherent beauty of snowflakes, the soft ballet of their fall, the way they shine in the light coming out the windows, like glitter, like crystals, like dancing stars.

Part of it, of course, is Piper, and Piper's power, and the way the snow lingers and grows, fractal and mesmerizing, drawing spirals and figure eights and never quite touching the ground.

She could, Scott knows, use it to do wrong. Has used it to do wrong in the past, to steal a wallet or a ring or a phone from spellbound bystanders. Has used it to hurt people.

Things are different now, and her power aren't going to go away no matter how many leaves she turns.

They're a part of her, and Scott is glad there is something beautiful, something good to be found in them.

"She looks like she's having fun," someone says behind him, and Scott startles.

"Sorry," Andy says. "I didn't mean to scare you."

"No, it's fine," Scott answers. "I just… Lost track a bit, I suppose."

Andy nods, and the wood of the porch creaks as he sits down beside Scott, wrapping an arm around his shoulders.

"That's rather easy to do with her, isn't it?" Andy says.

Scott leans his head against Andy's shoulder.

"It's worth it," he says.

They watch the snow fall together for a while.


---


"I'm getting a bit cold," Andy says, and he pulls his arm off Scott's shoulders and gets up, dusting snow off his pants. "I think I'm going to go back inside."

"You know," Scott says, and he gets up too, a handful of snow between his hands, and the snow cracks under his feet, in that old, comforting way, "I know another way to warm up?"

"What?" Andy says. His eyes slide down to Scott's hand and understanding dawns on his face. "Oh no, Scott, don't…"

The snowball gets him squarely in the chest.

"This," Andy says, bending down to retaliate, "means war.

Scott laughs.


---


It doesn't take long for Piper to notice the snow fight and decide she'd rather join in than continue her aerial ballet.

She's good at it, small and fast, running and jumping and diving out of the way, and her aim, more often than not, is true.

Uncannily so.

"Hey!" Andy says, throwing a snowball from behind the car before ducking back under cover. "Using your powers is cheating!"

Piper laughs, narrowly dodging.

"You're taller and stronger!" she says. "You run faster and throw further! I have to catch up somehow!"

"Cheat-er!" Andy repeats, sing-song. "Scott! What about a team-up?"

Scott exchanges a look with Piper.

"Well," he says. "If you insist… "

The first snowball misses narrowly. The second gets Andy in the shoulder.

"Scott!!" Andy says. "It got inside my scarf!"

Piper, half-hidden behind a tree, laughs.


---


"Oof," Andy says, letting himself drop in the snow. "I give up. You two won. I am not moving any more."

"All right," Scott agrees. "I'm getting tired, too. We should stop there. Piper, you did most of the work, you're the winner."

"Damn right I am!" she says. "You're sure you don't want to try to catch up?"

"Please take mercy on a frail old man," Scott says. "Yeah, I'm sure. We can make a snowman if you want, though."

Piper pretends to think about it, theatrically rubbing at her chin with exaggerated sounds of reflection.

"Fine," she says. "But we're going to make him in the back, so we can see him from the living room."

"Works for me," Scott says. "Andy?"

"I think I'll go back inside," Andy says. "Sorry guys, I'm really cold."

"See you later, then" Scott says.

"Yeah," Andy says. "Have fun!"

Scott smiles.



---


Scott and Piper make a snowball and roll it through the untouched snow of the back garden, trying to get it to grow into a nice, big round body for their snowman.

They are, unfortunately, less than successful.

The snow doesn't stick. Too dry, too powdery, falling apart, stardust rather than spheres and orbs.

"This isn't going to work," Scott says. Piper makes a face.

"Maybe we can make a pile?" she says. "Like, pack it into a cone instead of using snowballs?"

"Sure," Scott says. "Let's try that."

They do.

The resulting snowman isn't the most beautiful there is, bumpy and lumpy and leaning sideways, but it is there, and it has rocks for smile and eyes, and twigs for arms, and a pinecone for a nose, and Scott thinks they had a rather good time.

"It's missing something," Piper says.

She pulls her scarf, pink and gold, over her head, and she wraps it around the snowman, between the wooden arms and the gravel smile.

"Here," she says. "Better."

Before they go back inside, Scott takes the time to put his hat on the snowman.


---


Andy made them hot chocolate.

Scott and Piper shrug off their coats and winter garb, kick off their boots, pass a mop over the half-melted snow spread around the entranceway, and all the while, the house is filled with the smell of warm milk and cocoa.

The house is warm, golden from the light of the lamps, like fresh bread, like ginger bread and polished, wooden floor.

A fire is dancing in the chimney, softly crackling, and they sit down on the couch, Scott's arm across Andy's shoulders, Piper in the armchair by the window, sipping her cup of chocolate.

Soon, they will tell Piper to go to bed, wait until she falls asleep to put presents under the tree. Come morning, she will wake them up, tear open the wrappers in her Alexandria pajamas. A few weeks, and she will go back to school, start her probation in the Wards, get her second chance and her new beginning.

For now, watching the sparks rise over the flames, Andy's head on his shoulder, Scott is content. Happy.

All is well.
 
Up the Morning and Down the Night
She's alive is your first thought when you get up in the morning, and your last thought before you fall asleep.

She's alive. It has to be enough.

She's alive, Lettie, your little angel, your baby girl, she's alive and you remember, you remember when you thought she wouldn't be, you remember the glint of the metal and the tacky blood, you remember looking at her and thinking she's too young, she's not even thirteen yet, she hasn't started noticing boys yet or started high school or decided who she would be. You had her birthday gift hidden in the trunk of your car and you thought the both of you were going to die there.

She's alive because she has powers. She's alive because she killed someone.

She's alive, and it's all that matters, and he deserved it, really, but you remember anyway, the glint of blood and the pulped brain, and you remember how tall she was, how big, how strong, and you remember how scared you were.

She's alive, and you looked her in the eyes and didn't recognize her.

She's alive, and they told you, in too-calm, too-gentle words, that it is because she was scared, because that day was the worst she ever had, because she could see your death coming, and you were scared, too, and that day was the worst you ever had, and you wish you'd been the one to get powers. Maybe she would be safe, then, really safe. Maybe that man wouldn't be dead. Maybe you wouldn't flinch at spilled jam and the glint of windows catching light. Maybe you wouldn't be scared all the time, if you were the one with the power to keep you safe. The both of you.

She's alive. She made it, and she's safe, she has the heroes at her back, friends, a team, the guidance she needs, and you tell yourself you made the right choice, even as you sit by the television, even as you keep the news on at all times when you can't see her, even as you hold your breath at every talk of cape fights, even as you watch her fighting, so tall and so strong and so young to face all of it. She's barely fourteen. She hasn't even been to prom yet and she already knows who she wants to be.

She's alive, and a hero, and you learn to live with it, and the fear and the thoughts and the memories, until one day she calls you while you're at work, there's an Endbringer attack, mom, and you barely hear the name of the city because the rest of her sentence is I'm going.

She's alive, you tell yourself as you sit down and wait, and wait, and wait, she's alive, she's strong and she's fast and she's made it that far, your Lettie, your little angel, your baby girl, and finally they say the fight is over, and finally there's a knock on your door and a man in front of you, the man who smiled at you when you signed and promised they would take care of her.

She's alive.

She's alive.

She has to be.
 
Megan, What Happened?
"Caleb?"

"Brooke?"

"Anna? Anna?"

"Megan? Oh please, not Megan…"

"Megan, thank God, here you are. Why didn't you answer when I called?"

"I'm so glad you're okay, Megan. When I saw… When I saw Matthew in the garden I thought…"

"Where are your parents, Megan? The Millers said… They called the PRT. Where are your parents? We need to leave, okay? Where are they? We need to hurry."

"Megan, close your eyes, I'm turning on the light."

"What's that on your hands, Megan? Is… Is that…?"

"Oh."

"Megan. Megan, look at me. Are you okay? Where are your parents?"

"Where's Anna, Megan?"

"Megan, I don't know how you escaped it, but it might come back and we need to go. I don't know how long it will be until the Protectorate gets there."

"Megan, we need to go now."

"Megan, I'm going to carry you. Don't look, okay? Just… Close your eyes, and hold on. Everything is going to be all right."

"Everything is going to be all right, Megan."

"Megan?"
 
You didn't provide any details so I'm gonna make up my own.
The POV character did find Caleb and Brooke, they were transformed into miniature stuffed version of themselves but besides that they are unharmed, and the POV character is transporting them in a bag when they encounter Megan.
What's on Megan's hand is stuffing from the doll Matthew became and it's actually part of why she doesn't give verbal responses to the POV character, trauma. The other part is that the effect that turns people into dolls works through sight and the POV character's demand to look at them is caused Megan to be affected. Which is what prompted the final "Megan?"
As for what happened to Anna, she was found while they sneaked out of their current location. Then the Protectorate arrived on site and forced the cape responsible to turn everyone back. Everyone had to go into therapy but they eventually recovered even if Megan will never look at a stuffed animal the same again. The end.

That or it took until the end of the snip for the POV character to be unable to keep pretending that the only kid they could find was not already dead.

Anyway, thanks for the story.
 
I'm curious why you went with stuffed dolls.

I didn't provide details because I wanted the fic to be ambiguous - there were supposed to be two equally likely scenario, and it is up to the reader to pick one (the scenarios I had in mind being "a villain killed Megan's family (and she might be dying herself at the end)" and "Megan is the cape and killed her family (and she might be about to kill the speaker at the end)".

Thanks for reading!
 
I'm curious why you went with stuffed dolls.
Because it's a way they could be physically harmed without really being harmed if that makes any sense.
Also I'll admit that I hadn't thought that Megan could be responsible, it took me by surprise when I switched back to SB and saw the comment there but now I don't understand how I missed it.
 
"You kicked their asses with butterflies"
Taylor Hebert is not a girl.

Written for the prompts "Dadfiant and Taylor" and "a cape friend helping their cape friend transition and maybe falling in love" For the Cauldron Valentine snips exchange 2022

"Fan mail?" Defiant asks, and Taylor looks at the letters on the floor, the ones she threw away after just a few words.

"Hate mail," she says, and Defiant makes a sound of understanding.

"I used to get some, too," he says. "From villains' fans, or their friends or families. Victims' families, too, sometimes. It comes with being a public figure, especially once you reach a certain level of notoriety."

He doesn't say that if Armsmaster would get that kind of mail, if a hero would, of course Weaver, Skitter, the villain would, too.

Eat glass and choke. Was that an email or a letter? Who sent it? Emma, or a stranger?

"Maybe we should have hidden who I was," Taylor says. "Say Skitter dies, present Weaver as someone else. We could have pretended I was a boy to throw people off the trail."

Defiant shifts.

"Maybe," he says. "I don't think it's so easy, you know. To pretend to be someone you're not."

For a second, Taylor thinks he's going to say more, but a voice calls his name from the hallway, and she's left alone with the letters.

She burns them.


---


The thing is, sometimes, Taylor thinks she would like it, if people thought she were a boy. Sometimes, she thinks back about that first night, with Lung, and she wishes she'd waited. She wishes she'd covered her hair and the back of her head, and let everyone think she wasn't a girl.

(Lisa would have known. Lisa would have known, the way she always knows secrets, but Lisa knew Taylor was lying, knew Taylor wasn't a villain, knew Taylor was planning to betray, and she said nothing, and maybe she wouldn't have said anything. Maybe she would have kept that secret, too.)

Taylor's hair is black. Curly. Long. Her mother's hair.

(She likes it. It's all she has left of Mom, and she likes it, it's the only part of herself she likes sometimes, when she looks at the mirror and she feels like she's itching under the skin, when she wants to scratch until her skin peels off, dig out her veins and bones until everything stops being wrong.)

Taylor likes her hair and she wants to keep it and it's girl's hair and maybe things would have been better if, on that very first night, Lung had burnt it down to ashes.


---


When Taylor was a kid, before the world lost its shine, the children at recess would talk about heroes, about which was the best; the strongest, the fastest, the most favorite.

"Alexandria," Taylor would say. It was a lie.

(Alexandria was Emma's favorite. Mom's favorite. It didn't feel right, not liking her best. Like Taylor was doing something wrong, was failing a test somehow. A lot of girl things had felt like that.)

Taylor liked Legend best, some days. Others, it was Chevalier, or Eidolon, or Armsmaster and Dauntless. It didn't matter, really. Just that they were tall and strong and saved people, and Taylor had wanted to be just like them.

It didn't happen, in the end. Taylor had tried, after getting powers. Asked Brian about it, about how to get strong, had thought that maybe with it confidence would come, but… Wrong body type. Getting muscle definition was possible, muscle mass wasn't.

And then, Taylor had killed Alexandria.

And then, Defiant.

Defiant, who had changed his name.

Colin, who had changed his name.

"Colin?" Taylor asks. "How did you know you were a man?"


---


Colin lets Taylor borrow some of his old clothes. Shirts, mostly. A few hoodies.

"You can keep them," he says. "They don't fit anymore."

They wouldn't. Taylor isn't sure what exactly Colin put in himself, or what he did to his spine and ribs and flesh, but he's taller now, looming over everyone even when he takes his armor off.

The clothes are too big for Taylor anyway, shoulders too wide and hands covered in too-long sleeves, and yet they fit in a way nothing else did before.

In the mirror, hair covered by the hood, Taylor looks like a boy.

"It's temporary," Colin says. "Just until we can buy you something in your size."

Taylor rolls back the sleeves. The fabric is soft, and heavy.

"I like it," he says.


---


"I don't get it," Dad says. "It's not that I don't believe that it's true, or that I think it's in Taylor's head or something like that, I just… I don't understand."

Taylor shouldn't be listening in. Dad wouldn't be saying it to his face, he knows, and he shouldn't be listening. He doesn't want to hear it.

It hurts.

"Mister Hebert," Colin says. "This isn't about you."

"I know!" Dad says. "I know, okay? I know. It's just…"

He sighs. It sounds muffled, as though his head were in his hands.

"I know I haven't been the best father for Taylor," he says. "Things… Things went wrong. Some of it came from Taylor, some of it came from me. Maybe most of it, I don't know. I…"

A sigh, again. Or maybe a sob. Taylor isn't sure.

"Do you have any idea," Dad continues, "how it feels, to see your, your child run away from you? To see your child's face on the fucking news next to the name of a villain? Taylor killed people in front of me, killed Alexandria in front, and it's not easy, okay? It's not easy to fit that in with the baby I bounced on my knee and with the kid who loved her, and we were just starting to move on, we were just starting to build back, and I'm scared! I'm scared I'm going to fuck this up and I don't know what to do!"

He's almost screaming, and he must have noticed, because he stops, and takes a deep breath. When he speaks again, his voice is quiet.

"I don't want to lose him," he says.


---


"Did everything go well with the therapist?" Colin asks as they walk toward the cafeteria.

Taylor hesitates.

"You don't have to tell me," Colin says, and Taylor shakes his head.

"No," he says. "I mean, yes. It went well. I think? I was just…"

Nervous.

Colin gives an understanding nod.

"If there is any problem, you can tell me," he says. "I can pull some strings to get you another one. Or Dragon, if you want to tell her."

Taylor turns to stare at him.

"You didn't tell her?" he asks, and Colin shakes his head.

"No," he says. "Not unless you want me to."

"Oh," Taylor says.

It feels weird, to think that Dragon doesn't know. That Colin didn't tell her. Since he became Defiant, Taylor kind of thought of them as a package deal, with the unspoken assumption that telling something to one was telling the other.

That Colin kept their conversations private brings a strange feeling behind Taylor's eyes.

They keep walking quietly for a while. This time, it's Taylor who breaks the silence.

"Dad said…" he starts, and stops, and tries again. "Dad said he'd give his authorization. If I… For pills. And to change stuff, legally. If I want."

Colin stops walking, his hand coming to rest on Taylor's shoulder in an awkward, unfamiliar gesture.

"I'm glad," he says.

There is something in his voice that tells Taylor he means it.


---


"I think I don't want to cut my hair," Taylor says.

"Okay," Colin says, and he closes his laptop to turn toward him.

It doesn't necessarily mean he stopped doing what he was doing. Not with all the things he put in his own head. He mentioned, once, that there might be enough computer in there for all of Dragon to fit if she wanted to.

On the other hand, he wouldn't have bothered pretending to stop for the sake of politeness.

"It's girl's hair," Taylor says.

"It's your hair," Colin says.

It is. It's his hair, and Taylor likes it, Taylor doesn't want to cut it, but…

Mom.

"Long hair is girl's hair," Taylor says.

"There are plenty of boys with long hair," Colin says. "Either way, it's hair. You can cut it later, or grow it back. It's not a permanent change."

"I don't know," Taylor says.

"You have time," Colin says.


---


White and blue aren't girl's colors. Weaver isn't a girl's name. Those aren't things that need to change.

But.

Weaver is a girl.

Taylor isn't a girl. Taylor was never a girl. But Weaver, like Skitter, is a name others gave, is a mask and a costume, is as much image as person, and Weaver, like Skitter, is a girl.

Maybe it could change. Maybe Weaver could become a boy. Maybe Taylor just needs to work for it.

Maybe he doesn't want to.

It would be nice, he thinks. A new identity. It wouldn't… It wouldn't stop the hate mail, it wouldn't hide anything, everyone would know it's Taylor behind the mask, but the image would change. Taylor, as a cape, as a boy. Keep the white, replace the blue with green or gold.

He's wearing pants and a shirt he bought in the male aisle at the store, and one of Colin's old hoodies, hanging heavy off his shoulders as if a hand was resting there, and in his hand, there is a roll of papers, ideas for names and new costumes.

Taylor takes a deep breath, and knocks on Glenn Chamber's door.
 
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Over the Wall
Written for the second Round of the Cauldron Cup, Season Six, with the following prompts:
Genre: Period
Theme: Thinker
Characters: Velocity & Dinah Alcott


Robin steps onto the balcony, and the night breeze on his face feels like reaching the surface and shore after being dragged underwater.

He doesn't think he enjoys parties, at the very least not those of the kind the Christners throw, with those too- fancy clothes and those niceties full of double-meanings, with words he doesn't know and rules he never learned and a rented habit too tight around his chest.

He shouldn't have come.

"I don't know you," a voice says.

There is a girl on the balcony, lace on her pale pink gown, a child of ten or twelve made to seem older by her somber face.

"Robin Swoyer," he introduces himself.

"Dinah Alcott," the girl says. "You're Cousin Rory's friend. The one he met in the army."

"I am," Robin says, and he prepares to leave her to her tranquility and go back inside to the sweltering warmth of candlelights when the girl speaks again.

"I saw someone in the garden," she says. "They were scaling the wall."

"Oh," Robin says, and he struggles to think of what to say when he comes to the realization that this is an opportunity to get further away from the music and the crowd. "Do you want me to go have a look, Miss Alcott?"

The girl nods.

When he goes, she follows him.


---


Robin, somewhat wary of being accused of impropriety, stops to inform both Mister Christner and Mister Alcott of the situation, and although neither quite seems convinced by Miss Alcott's tale, they agree to let Robin take her to the garden to put her worries to rest.

"Fresh air will do her good," her father says.

The path from portal to house is lined with burning torches to guide arriving guests, but the rest of the garden is dark as coal, and Robin borrows a lantern to light their way between the trees and bushes and flower beds.

If he looks overhead, he can see the stars, and the night is still warm from the evening sun and filled with the scent of flowers, the walk a respite after the pain of standing still, but Robin can't quite shake his restlessness, and Miss Alcott has a frown on her face.

"Don't worry, Miss," Robin says. "I won't let anything happen to you."

She scowls harder.

"You don't believe I saw anything either," she says. "You're merely humoring me to obtain Uncle Roy's favor. No one ever cares about what I say."

Robin, who is of the opinion that any intruder is long gone and merely wants an escape from the party, elects not to answer, and they finish the walk to the wall in silence.

As expected, they don't find anyone at the bottom of the wall.

Just a scrap of blue fabric at one of the rose bushes.


---


Robin goes home, and it is better than the barracks and the tents, better than the mud and the orders and the knowledge that he can't leave, better than the suffocating routine of the army, but it is still small, and he doesn't have the money to travel, and it still feels like a cage, sometimes, and the restlessness never quite leaves, the need to move, to go somewhere like lightning or ants under his skin, unable to get out.

It would be easier in the countryside. He could run, at least. It's the one thing he misses from the army. Even Rory came back with him.

Robin is small and the world big and he can't see any of it.


---


Three days later, the Christners invite him for dinner.

It still doesn't feel real, sometimes, talking and eating with people so far above his station. It still feels strange, impossible, that a few comforting words to a young, overwhelmed officer brought him there.

Dinner is delicious, heavy meat and rare dessert, cloyingly sweet, and Miss Alcott is there, her parents having left her in her uncle's care as they travel for business.

"Nothing was stolen," she tells Robin after they have done away with the meal. "I looked. And the fabric was silk. Maybe it wasn't a thief. Maybe it was someone who wanted to build connections and make himself look more important so he could be more important."

"Do you think so?" Robin asks, and Miss Alcott nods decisively.

"Everyone wants to become more important," she says. "They all have all those intrigues and plots, and they look at me and they think about how my parents are important and my uncle even more so, and how I'm going to need a fiance soon, and they introduce their sons and I know I'm going to marry one of them, but it's because I'm of use, not because they care."

"Ah," Robin says.

He doesn't find the words to say more.


---


A week goes by, then two, then three, and Rory makes sure to invite Robin at least once every three days.

Dinah Alcott was there, of course, her parents won't be back for another month and they talked some, mostly about the thief and the wall, and a little about walls and cages, and it's strange, because…

"Marriage?"

"Not now," Rory says. "She's still young, but… Eventually, yes. That's how it goes. We only want the best for her."

The best for her. A good man, a rich man, an important one.

Because I'm of use, not because they care.

Robin keeps his silence.


---


"I think I understand what you meant now, Miss Alcott" Robin says this afternoon, after Rory has excused himself for a brief moment, "when you talked of the future."

She scowls.

"I wish I could be of help," he says, and he stops there, because how could he? He's not rich, or important, and calling himself a good man feels self-righteous enough he would rather leave it up for debate. He can't take her away over the garden walls anymore than he can take himself beyond mountains and seas.

His skin feels tight over his bones.

Dinah stays silent for a while, and when she speaks, her voice is quiet, thoughtful.

"Mister Swoyer?" she says. "What if the man on the wall wasn't trying to get in?"

There are footsteps in the hallway, the sound of Rory coming back.

"What if he was trying to get out?" Dinah says.


---


There is another party this Saturday at the Christner home, smaller than the last one, and Robin, restlessness itching under his skin, agrees to the invitation despite his misgivings.

(Anything is better than staying home watching the walls.)

"Mister Swoyer, look!" Dinah says in a half-whisper, pointing at a boy a mere few years from adulthood, quietly slipping between the ballroom doors as he seems to think no one is looking.

A boy in a blue coat.

"That's Dean," Dinah says. "The Stansfields' son."

They follow him, through the light of the hallways, through the shadows of the garden, through the thorn of the bushes. He picks a rose from one of them.

"So it was a girl you were visiting," Robin says, and the Stansfield boy startles.

"I…" he starts, and stops, visibly struggling for a lie.

"I don't want to be married either," Dinah says, and his shoulders sag in defeat.

"Yes," he says. "It was a girl."


---


The Stansfield boy is planning to leave.

He has, as Robin guessed, a mere three years left before reaching his majority, and he has set aside what money he could for travel and lodgings, and as soon as he reaches his twenty-first birthday, he's going to leave with his lady friend and build himself a life with her.

"I can't take you with me," he tells Dinah. "I'm sorry. But when you're old enough, if you decide to leave too… My home will be open to you, wherever it might be."

Leaving.

Maybe Robin will, too. Make his way to the countryside. Find employment there.

It wouldn't be perfect, but he could run.
 
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Looks like if Dinah wants to escape she'll have to make her own arrangements. It's probably better as far as self determination and such are concerned, but it's kinda sad that nobody is willing to help. (Well Robin probably doesn't have the means to arrange it, but still.)
 
Leviathan
Written for the third round of the tragically cancelled Caundron Cup, Season Six, for the following promps:
Genre: Journey
Theme: Shaker
Most of the buildings in Brockton Bay are still standing, and Carlos knows that it means that things could have been worse.

Soft target, they said on the news, and talked about the aquifer, and his mother's knuckles were white around his father's hand, and the word Newfoundland was heavy in the air, the word Kyushu, and no one dared to say them, not even Carlos. It felt too much like tempting fate.

The thought feels bitter.

"Are you sure you don't want me to come with you?" his father asks.

"Yes," Carlos says. "I'm sure."

His father stops the car.

"You come back here straight after, okay?" he asks. "Promise me, Carlos. Don't… We'll go to the PRT building together when you're done. Promise me to come straight back to the car when you're done, or if there's any trouble."

Carlos could pick up the car, if he wanted too, and his father inside it, coud fly away and the car couldn't catch him, and his father knows it, too, and there is worry in the crease of his brow.

It's not about Carlos. Not really.

"I promise," Carlos says.

The path up Captain's Hill is hard to walk, mud swallowing his feet and sticking to his shoes, and it would be easier to take to the sky and fly, but he's not in costume, and it doesn't feel right anyway.

(If he looks around, he can see the lines of water damage where the waves reached, the rubble in the city below. He doesn't want to run from it.)

(He doesn't want to see how much worse it would look from above.)

Carlos finds the memorial at the top of Captain's Hill.

Nate. Dean.

(Shielder. Dauntless. Velocity. Manpower. Even Armsmaster, not dead but gone all the same, and no one will tell Carlos why.)

Carlos lost his heart, once, not long after he got his powers, pierced by a metal scrap, and he's had injuries since then, painful ones, impressive ones, and he's used to it now, but something about this one stuck out to him, lodged into a corner of his brain, and he remembers the burning pain behind his sternum, how much it hurt and how scared it was, the strange silence like cotton in his ears.

Looking at the names feels a lot like that.

"Carlos," a voice says, coming from above. "You're back."

"Victoria," Carlos says, and he feels like he should add something, anything, but he can't think of what, and the name hangs in the air with all the awkwardness of aborted sentences.

It's hard to look at her. She's high enough in the sky he has to crane back his head, and the sun behind her blurs her face even as it outlines her.

"Where were you?" she asks. There is no accusation in her voice, and it hurts more than if she had yelled.

He should have been there.

God, he should have been there.

"My grandmother broke her leg," Carlos says. "We went to visit her. We'd just reached her house when we… When we got the news. My parents didn't let me come, and I… I didn't even know how."

Small town. Too small. No PRT office, and he didn't know in which direction to fly to find one. And even if he had, what then? Would they have let him go without parent permission? Could they even have brought him to Brockton Bay in time?

(His mother was yelling at him from the ground. Screaming for him to come back immediately. Not to be foolish. That he couldn't go. That she wouldn't let him.)

(His father was crying. That's what made him go back down to the ground.)

"Is she okay?" Victoria asks. "Your grandmother."

Dean is dead. Dean, and Shielder, and Nate and Manpower and all the names on the memorial. Her boyfriend is dead, and she's asking about his grandmother's leg.

There is laughter stuck under Carlos's sternum and ribs, disbelief and absurdity all rolled in one. He swallows it down.

"Yes," he says. "We were worried because she's old, but the doctors say she will be fine. My mother and Luisa are staying with her."

Victoria nods.

"That's good," she says.

The laughter is bubbling back, or maybe it's a sob this time, bile and blood and sickness in the back of his throat.

"I'm sorry," Carlos says. "I'm sorry, Victoria, I…"

He should have been there. He should have found a way.

He should have made a way.

"It's not your fault," Victoria says.

She's quiet, Carlos realizes. She's been quiet this entire conversation, more than she normally is.

"I should have been there," he says.

He can fly. He can fly. Maybe he could have snatched up Dean, or Nate, or Shielder, carried them out of the way of the blow, maybe he could have seen it come and yelled a warning for Dauntless or Velocity or Manpower to dodge, maybe he could have saved one of them. Maybe he could have saved someone. Anyone.

"It's not your fault," Victoria repeats.

He wonders if she really believes that.

She notices. She must have, she must have seen something on his face or in his posture, or noticed that he doesn't believe it, because she starts speaking again.

"You're back, though," she says. "That's the important part, right? You're back. Vista is still there, and Clockblocker and Kid Win and Shadow Stalker, and New York sent you a new girl. They'll have your back."

It could have been worse, she doesn't say.

A replacement, she doesn't say. A stranger from New York, to take Dean's place, or Nate's, who was barely there long enough to get a name.
Carlos knows it's not her fault, that girl from New York, but he hates her a little bit anyway.

"You might have me, too," Victoria says. "My mom says New Wave might disband. I might join the Wards."

She flies down, feet almost touching the mud.

"Maybe we can help now," she says. "Maybe things will get better."
 
Good old Levi always throws the best parties, and people are always sad about missing out. /jk

Of course realistically Carlos being there would mean getting an close and personal view of a different death even if he did save Dean (and a good chance of joining him), but grief isn't known for letting people be rational about that kinda things.

and the word Newfoundland was heavy in the air, the word Kyushu,
like the word Kyushu,
 
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