aviary | CLOSED | prompt eight

[ There's one kiss that stands out in his memory. It had been on the banks of the river, the both of them laid out upon the grass. She'd tasted of strawberries (they'd gone into the berry patches earlier in the day) and he'd thought he could taste the sun, too, if only for the way it had been haloed in her hair. He'd been buoyed on by the moment for a week.

It's a dusty reel, now. This moment is not quite as bright, caught in a small cottage off the coast of nowhere, but it sets a fire in the very depths of him. Nothing ostentatious, nothing too high, but steady.

He doesn't bother saying anything in reply. Instead, he kisses her again, a little more plying, but still hinged upon her comfort as opposed to his own need (more alive than he'd remembered it to be, though still easily kept at bay). His other hand finds her shoulder, both to hold her close and to urge her up, their respective poses somewhat awkward as they are. ]

[ She is still kissing him when the rise, her own hands fumbling towards his elbows (warn patches on the sleeves of his sweater) as she tries to find her feet, her neck craning to keep her mouth upon his. Though the kiss remains more or less chaste, she can feel something creeping at the very edges of it. What that something is she does not understand (his desire for her, more bodily and base than she's yet to learn), but it glimmers there like some bauble that dewly catches the lamplight and, ever intrepid, Sansa chases after it with her lips, a sigh escaping her as she finally settles at a short distance, the two of their bodies held apart from one another like teenagers in some awkward dance, even though their mouths remain joined.

A noise then escapes her, curious and questioning, those hands traveling up the length of his arms to find the line of his shoulders, curling loosely over the collar of his shirt.

The children are not allowed movies nor radios nor books that remind them too readily of the outside world. (Sansa's magazines had been near to contraband, though her original had been influential and sent them nevertheless.) She has only stories to mimic, illustrations from fairy tales (Snow White, Cinderella). None have taught her how to deepen a kiss, how to make it more than simply confection and sugar sweet, but the curiosity is there. An unspoken bid of teach me, teach me as her eyes remain open and her lashes flutter and a tin-toy drumbeat hammers at her chest. ]

[ It's only once he, too, has found his feet that he tries to pull her closer, his arms carefully winding about her frame. (He nearly pauses for a moment, unsure of the wisdom of his own actions, but the thought lingers for just a passing second.) Gently, cautiously, the pad of his tongue presses against the seam of her lips, a hint as to the embers that begin to glow in his blood and the part of him that yearns for her in a way that isn't quite storybook. The children are not allowed movies nor radios nor books and Mr. Baelish knows as well as any of the other staff to what extent their education is lacking.

He is not confection and sugar sweet but a different sort of gentleness — like the worn patches on his sleeves, like an old hand-knit scarf, like a beloved book. Kind, more than cloying. The very best parts of him. Still sad, still melancholy (still damaged), but kind. ]

[ She isn't certain what it's meant to mean at first, that soft wet pressure against her lips, the slight exhale of warm breath from Mr. Baelish's nose. Startled and uncertain she draws back for a moment, fingers lifting from his shirt as if caught in the middle of some shameful act. Sansa feels the whole of her face flush in response — not the pleasant tingling rush that kissing Mr. Baelish had brought her, but an overwhelming kind of embarrassement. Had she done something wrong? Was her mouth meant to be wet?

Her blue eyes wide she looks at him for a long moment, her hand moving to touch that wetness as she swipes at it once with her tongue. He tastes of mint and something else, more pervasive, like an undercurrent of sadness. Those pleased prickles return again, replacing her fluster with a more modest blush.

Sansa smiles slowly and then tastes her own lips again. Amazed, she giggles. ] I'm happy, [ she says, such a simple statement and yet — for her kind — nothing short of a miracle. Then, without warning, she claps her arms around Mr. Baelish's shoulders and kisses him again. ]

[ He almost leaves outright when she draws back, suddenly afraid that he's been reading things wrong, that this isn't what she wants in the least. Then, slowly, slowly, her lips curve into a smile, and before he can fully process what she's said (I'm happy), she's kissing him again.

There's a fervency to the way that he holds her now that is equal parts passion and relief (and, perhaps, desperation too). When he pulls back, his cheeks are flushed, and he is half breathless. But, most importantly, he's smiling, too. It takes years from his countenance, makes him seem the age he is rather than the age that his features have worn to be. ]

Me, too, [ is what he manages to say, near baffled in too. ] I mean, I'm— I'm happy.

[ And he kisses her again, his embrace tighter than it had been, lips trailing to her jaw, then her neck, his former caution abandoned as that rush — happiness, a stranger to him up until now — strikes him as the waves of the sea strike against the rock shore. ]

[ They embrace and they kiss with a sudden giddiness, as if two children suddenly caught at unexpected play. Just as Mr. Baelish seems bemused by his own happiness, Sansa feels every nerve in her body fizzle with delightful exuberance — not heated per say (not yet at least), but warm and warming, like a sip of Christmas brandy travelling from tongue to gullet. With the twine of his arms, with the press of his mouth, Mr. Baelish' kisses grow no longer chaste; instead they chance her chin and her throat, nipping enthusiastically along her jaw, introducing tongue here and tooth there, as if he isn't wholly certain which part of him will do the job best.

The exchange lacks the kind of headiness that comes with full-fledged desire, but that fact seems to quell neither of them in their explorations of one another — hands and mouths moving and tracing, little whispers of encouragement and bubbling laughter the only sound over kisses and cloth and the occasional sigh. Rather than hot and heavy and burgeoning, their dalliance is tempered by the inexperience of youth, an awkwardness and fumbling that makes Sansa laugh again and then swoon happily in Mr. Baelish's arms, clinging to him.

When her eyes finally flutter shut it feels as if she is falling down down down from a very great height, only Sansa is not frightened, she thinks Mr. Baelish will catch her. ] May we be happy together and kiss more? Oh, please say yes.

Edited 2012-08-28 03:36 (UTC)

[ And he's there to soften her fall, to keep her from hitting the bottom, his embrace warm and reassuring, cheek pressed to her hair as he hugs her close. A daze clouds his senses, not that of desire but of simple surprise — that she would enjoy this, that she would want him at all. But, that said, he won't question it, and he won't be ungrateful. He knows how precious love is. ]

Of course, of course, [ he whispers, some of that giddiness still readily audible in his voice. ] Yes, a million times yes. For as long as you wish. [ The last part is a fallacy, of course, but a wish that he holds true. As if to demonstrate the point, he kisses her again, one of his hands sliding slowly down her back to rest just above the curve of her backside.

They could be happy, he thinks, the thought fueling his passions. A little cottage by the sea, perhaps, or a flat closer to the city. Something normal. No one would think to question them too long, no one would question the matter of whether or not she could love at all. ]

Some day, [ he manages, the words spoken against the corner of her mouth, ] I'll take you away from here. We'll live together somewhere nice, go wherever we like. Would that make you happy?

[ They say that surrogates are not people. They are bodily vessels, receptacles that hold an entire lifetime of second chances. They are ghosts and they are echoes — thin shadows cast upon the wall by their Originals, nothing more. But if that were true, how then was this possible? How would the copy of the girl who had broken Mr. Baelish's heart so many years ago suddenly find it in herself to love him now — so freely and so effortlessly, the way any normal girl would.

Sansa feels something strange happen to her then, as the tumult of emotions she feels inside had suddenly come to a glorious, shimmering head. Without warning, hot tears sting her eyes and stain her face, her gaze wet and singular and wholly adoring. There is nothing, nothing that compares to first love — a heavy truth that Mr. Baelish has held in his heart all of these long years — and it is first love that fills Sansa's gaze and spills down her cheeks, the sentiment far too large for her unexperienced heart to hold. Even though he holds her ardently, his arms are gentle and — for the first since knowing him — seem strong instead of earnestly meek. Still, a breathlessness takes hold of her, brought about by their kissing and her crying. ] Y-yes, oh yes, [ she sobs happily. ] Nothing would make me happier, Mr. Baelish.

[ Kissing him briefly, she presses his cheek to hers and twines about him, her shoulders shaking as she sobs again, the sound heartbreakingly joyous in his ear. ] Are we in love, you and I? Is that what I'm feeling right now? Can you promise it will never end?

[ They say that surrogates are not people and though Mr. Baelish has never believed the principle, it has never been clearer to him how much of a lie it was until now. She loves him with a fervency that only she could muster, loves him in a way that is untarnished and clean, as lovely as birdsong. And he is too caught, too enraptured, to be unhappy.

She sobs, and for an instant, he's worried that he's done something wrong. But it's joy that colors her voice, not sorrow, and though he does not cry with her, he laughs in relief, the sound bright in comparison to the fog and dark in which he always seems to live. ]

We're in love, [ he tells her, amazement in his words. ] Yes, Sansa, this- this is love. And I swear to you, until my very last breath, I will love you.

[ Pressing a kiss to her temple, he draws her ever closer in his arms, allowing the silence to envelop them for a moment before offering, with a sweet sort of hesitancy: ] You may call me Petyr, if you would like.

[ A gentle pressure, wet and round, pushes against the point of Mr. Baelish's pulse and it's not until it sniffles softly a moment later that it reveals itself to be the very tip of Sansa's nose, nuzzling him. Curled against him now, she tries to make herself small even though adolescence has been kind to her and given her the same long-legged leanness that had made her Original so very beautiful in Petyr's eyes. Her shoulders bow and her neck cranes as she tucks herself in that warm nest of his embrace, that initial sob of happiness still thrumming (electricity through a wire, blood through a vein). ]

Petyr, [ she murmurs, as if it the sweetest word known to man. ] Petyr, Petyr, Petyr. [ Each is a prayer and an exultation; each is love's golden sigh. ] I can't think of a more wonderful name. I will call you it morning, noon and night.

[ At length Sansa draws back, just far enough to meet his eyes, the damp end of her nose brushing his before she ducks in to peck him once on the mouth. ] All the stories were wrong, [ she then says, sounding but amazed and enlightened. ] All their words, they couldn't touch this, they'd never be able to explain—

I feel— I feel alive. It's wonderful.

You are alive, Sansa, [ he whispers, and he means more than just in love — he means the beat of her heart and soul, of everything that had, for so long, been thought impossible for the likes of the surrogates. (He suspects that the blood through her veins possesses more life and more vitality than his ever did.) And so he holds her, as if his frame might be enough to shield her from the worst of the world, from the world they intend to explore together, made great by the virtue of their love but that he knows is wide and vast and, more often than not, cruel.

As though to delay the fact, he kisses her once more, nothing if not ardent, the taste of mint cold on his lips.

He thinks of nothing but her. No thought of Catelyn, no thought of the riverbanks upon which he had spent his boyhood. Just her, the girl in his arms — Sansa. Not a ghost, not a copy. His heart belongs to her. There is no one moment that he can pinpoint in which it had happened, the feeling both a terrible ache and a dizzying kind of high. How long had he dreamt of something like this? And how long, in turn, had he shunned the notion entirely?

I love you, he tells her, over and over again, and though there is desperation in his voice it is colored by a deep happiness. ]

[ It is said that living is more than a series of biological processes. All organisms exist but not every organism lives — at least not in a meaningful way, in the way that originals do. Sansa had grown up reading stories of real life, of the experiences that (when taken together) formed the weave and the weft of living. And though her teachers and counselors all endeavored to quell any desire or hope for a deeper sort of existence, she had secretly longed to reach out and to touch it — to taste something grander and more profound. (She had wanted so desperately to live and to love and now here was Mr. Baelish — here was Petyr — offering her both with the sweet ply and soft whisper of his mouth.)

I love you, he tells her, over and over again, the words running into one another to form a single, tuneful song. For all that he says it, Sansa says it again only once — pulling back far enough to meet him eye to eye and then announce with the same enthusiastic wonder: ] I love you, Mr. Petyr Baelish. I love you and I'm loved by you.

[ Her eyes crinkle. ]

Thank you for making me the happiest girl on the Estate— no. In the whole wide world.

[ Her words sound as if they've been plucked from some storybook, and it is with some wonderment that he tells himself (that he knows) that she means each word from the bottom of her heart. Love on its own is a miracle. That she should love him is another wonder altogether. The smile that he wears — broad and unfettered — says as much. (I owe you, he thinks. I owe you so much.) ]

And my thanks to you—

[ A pause. (He fears his voice might break.) ]

—for giving me my life back.

[ It's a simple song, by most means. A few words strung together. But they mean the world to a man like him, to someone who, for a very long time, had thrown himself body and soul into what he believed to be a greater endeavor in order to forget his own hurt. In her embrace, he breathes for the first time. ]

[ It seems almost too perfect that they should find one another, the match between them made too well. Neither had lived before the other and, for a very long time, they knew only sadness and an aching sort of longing — things that nothing seemed capable of fulfilling (leaving them broken and hollow and alone). If Sansa is Petyr's miracle then she is certainly his in return.

Instead of answer she kisses him again, her mouth growing bold upon his, the touch of her hands as they come to cup his face gentle but urgent with a smoldering enthusiasm. Some children bloom early and others bloom late, while others still bloom not at all. If the way Sansa kisses Petyr now is any indication, she had simply been waiting for him to waken her, his nearness rousing her womanhood through earnest touch and fervent kiss. ]

We saved one another, [ she tells him at length. ]

CLOSED | prompt eight | RUIN

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