watching_you: (Default)
Veronica-mun hates AIM and the feeling, by and large, is mutual.

If you want to get in touch with her, leave a note here! Comments are screened by default.
watching_you: (Sleeping)
Sunlight pours like butterscotch through the gap in the curtains, gathering in one long thin strand along the ceiling, then the walls. As the sun rises it melts down, pooling at last on the tangle of blankets that marks the bed. Though the gap is thin the sun is persistent, making firm arguments in brightness and warmth that yes, it is morning, and no reasonable person should attempt to ignore that fact through such frivolous action as maintaining sleep.

But Veronica has always had something of a rebellious streak. With a muffled sigh of discontent she turns away from the window, the duvet twisting around her ankles; this action brings her nose-to-chest with the bed's other resident. The nuzzling that follows seems pure instinct.

"Mm." Her voice is thick with drowsiness as she mumbles, pre-emptively, "Just ten more minutes."
watching_you: (Works best alone)
[OOC: Veronica's own notes are handwritten like this]


150 THINGS TO DO BEFORE YOU ARE 30
The full list )
watching_you: (Mars Investigations)
[Continued from here.]

It's morning.

Veronica wakes from a dreamless sleep completely and fully, her eyes snapping open to take in the ceiling above her head. It's not the ceiling she was expecting, but it is a ceiling she knows: Milliways.

Okay. So. Inventory.

One set of pyjamas—her own, which is nice. Ten fingers and ten toes. Some vague memories of being taken to the infirmary which get especially blurry after the German guy asked about her medical history with opiates. And one throbbing, aching, holy-fuck-this-is-unpleasant shoulder wound.

Oh, and one Mills, sleeping in a chair. (Why the chair? she wonders.) She adjusts, moving to sit up in bed; from what she knows of him, he'll be awake himself soon enough.
watching_you: (Works best alone)
It's late one night when Veronica comes into the bar, angling on Millitime to gain her a few precious hours of sleep. She stops by Bar purely on a whim, looking for one last mug of decaf, and is surprised when her drink is matched with a crumpled bit of something and an adjoining note from bar that asks, For you(?)

Upon uncrumpling the something turns out to be a seed packet, with directions explaining that in a few short months you, too could have your own sunflowers. The packet has been treated badly, and possibly used as a coaster at one point, one corner stained with someone else's sticky blue liquor.

"What the hell?" Veronica asks Bar.

Turn over, replies Bar on a napkin, and adds, He started writing it then tossed it.

"Well that's mildly creepy," Veronica says, but on the back of the packet there is, in fact, a note.

V~ Miss the sound of your voice. ~M.


"Oh. Oh. Um. Okay. Can I borrow a pen and paper?"

A few minutes later she's heading upstairs, leaving behind a note of her own:

Mills -

Got your gift. Appreciate it. Sadly have a 'black thumb' i.e. I kill plants, also no garden to speak of. Maybe I can eat them?

-VM.
watching_you: (Up & Away)
Veronica leads Mills through the labyrinthine corridors of the Milliways guest area until, eventually, they reach the right hallway.

"This place can be a bit confusing at times," she offers apologetically. "Things have a tendency to move. But I'm right up here --"

She cuts off, stopping short. This hallway's not empty.

Super.
watching_you: (Siiiiigh.)
Veronica slouches low on the couch, ducking out of the range of Indy's back swing.

"Let me guess. Another strike."

She sighs and props her beer on her chest, holding it in place with her breasts and the low-cut V of her shirt.

"Big surprise. Glad we didn't put money down."
watching_you: (Default)
So I get there and it's raining. It's not just a little bit raining. It's raining like there's no tomorrow and the reason that there's no tomorrow is because there's so much rain. God is having talks with certain trusted folks about how to fit a miniature zoo onto a yacht, if you get my drift.

Anyway I'm supposed to meet this guy. An informant. He has information about the location of the – you know – the thing. He picks the spot, little crappy coffee joint I'd never heard of and wish I never had. And it's two in the morning. You know what kind of crappy coffee you get at a crappy coffee joint at that time of the morning? No. Of course you don't. You were back at the hotel, happily asleep.


[I AM USING THE HR TO INDICATE A NEW TAG]

[Indy]

Well actually, I was...



[V]

Hold on, hold on, you'll get your turn. Anyway. I'm waiting. I read all of the paper, and then I read it again, and then I do the crossword and to tell the truth I'm not particularly fond of crosswords. I'm running out of things to do. There are only so many ways a woman can keep herself amused at a seedy coffee joint at that time of morning. Well. If she's trying not to draw attention to herself.

Next thing I know I'm on my ninth cup of truly evil coffee. I look at my watch. It's four.

My guy hasn't shown up. Something tells me that something kept him.

Something tells me it's not the weather.
watching_you: (Watching intently)
Veronica stands in the centre of her apartment, examining her surroundings critically.

The whole thing could never have been helped, she supposes. On one hand the entire place has been decorated with all of the style and flair of a very confident eighteen-year-old college freshman; on the other hand the place has been decorated with all of the style and flair of a very confident eighteen-year-old college freshman. There are posters on the walls for God's sake. Veronica is wincing.

It doesn't help that the whole room looks very, well, seven years ago. The carpet and the drapes and the couch with those little wooden legs... Something must be done. And Special Agent Veronica Mars, FBI, is just the one to do it.

Well, maybe she can supervise.

Those couches aren't light.
watching_you: (Distant)
Be warned that this plot does have some mature themes, including depictions of mindrape and physical violence. If these subjects would upset you, it might be best if you stayed away.




So back a million billion years ago (actually December '05) Veronica Mars found out that a classmate named Meg Manning was pregnant, and lept to the conclusion that her then-boyfriend Duncan Kane had been sleeping around. In a fury of hormonal vengeance, Veronica proceeded to the bar, where she allowed herself to be seduced by one of the Forsaken.

Luckily (unluckily?) Ishamael cared less for the actual sexin' than he did for the mind games involved, so while he left Veronica physically untouched, he did distort her memories of the night. He also left something else behind.


For almost a year, the curse remains mostly dormant.

Then something happens, involving a House. You know, that House. Veronica returns from it rather broken, and meets with Behrooz, who has no idea what's going on but knows it's not good.

Sadly Veronica then leaves the bar for a while and gets caught up in the outside world. Behrooz, for his part, does wonder about what's happened, but when he asks Logan about it neither of them learns much. Back in Neptune, however, the House has changed something - it's small, but it's there.

When Veronica eventually returns, the gradual changes have taken their toll, so much that a personality shift is noticeable. First, Behrooz notices that Veronica does not seem up to her usual interrogations (shock! horror!), and then later in the conversation, when he attempts to press her about what happened in the House, she snaps at him. In a simultaneously-millitimed thread, Indy starts off doing much better, although Veronica does seem oddly antsy and distant throughout. This cumulates with V shouting and freaking out at Indy, who manages to calm her down. Veronica explains this away by telling Indy she has been experiencing anxiety attacks, and Indy seems to accept this explanation, at least for the meantime. Veronica ends the day Bound, and retreats to her room.

A few days later Indy comes to visit Veronica in her room. There are brownies and witty conversation, 'til Indy starts asking about the panic attacks. After some more verbal sparring Veronica asks about Logan, then backpedals like mad when Indy tries to figure out her motives. Indy finally leaves, convinced that something's not right and determined to do something about it.

And he does, in the form of sharing his suspicions with Rachel Grey. It's always good to have a telepath on your side, after all. This also means that Indy's prepared when Behrooz shows up with concerns of his own.

Veronica, meanwhile, hermits away, fading in and out of self-awareness.

The next time she's in she visits the bar, and has a conversation with Behrooz which involves sharing secrets and being really, really awkward. But it ends... not too badly! There's hope! Of a kind! Another simultaneous conversation with Indy occurs, in which Veronica thanks him for the magic brownies and manages to not mentioning anything to do with the 'magic', which is weird in itself - and then it's time for another bout of brain pain. Again, the conversation ends with hope, of a sort.

It's not long afterwards, however, that Veronica completely fails to recover. D'oh.

This leads to round three for Veronica and Behrooz. It's a strange conversation, to say the least, as Veronica's behaviour has moved way beyond erratic. Nevertheless, Behrooz does gain some answers.


It's a little while later that things come to a head.

It starts with Veronica visiting Indy. For a while it seems just like the old days, and there is much joking around, at least at first. Soon enough, though, Veronica descends into being viciously bitchy for no real reason. This seems like a bad sign, but when Indy asks Veronica about her 'panic attacks' she tells him that they're gone, thanks, and she's doing much better. She also reveals that she is no longer Bound, and implies plans to leave. But first, a pitstop!

At which point Veronica finds Indy's gun. And steals it. And flees, passing Rachel as she goes. Rachel immediately senses that something's up, and discusses this with Indy, who is unconvinced at first. When he discovers that his gun is missing, however, he changes his tune. To the Batmobile!

Back in her own room, Veronica prepares to leave, only to be interrupted by Behrooz. She attempts to blow him off, but doesn't count on his Wolfbrother senses finding the gun. Most people might settle this with words, but not Veronica 'Why Yes I Think This Is a Good Idea!' Mars! Who, against all odds, wins! Following the fight, Veronica very nearly kills Behrooz, then decides against it, and leaves.

Indy and Rachel arrive just minutes later, and find Behrooz recovering. The three of them continue the chase.

Meanwhile, Veronica meets up with Logan in the bar, and convinces him to follow her to the lake. They talk, with Veronica veering the conversation towards their relationship, and Logan's brief affair with Madison Sinclair, and Veronica reveals a deep feeling of betrayal that brings us full circle. Logan attempts to defend himself, but Veronica will hear nothing of it, and pulls the gun on him. It's at this point that the cavalry arrives. Veronica is distracted by the shouting and psychic displays of shiny long enough for Logan to attempt to take the gun from her, but in the ensuing fight a misfire hits Indy. Rachel, who is Not Pleased, throws Veronica telekinetically into the lake, then turns to help her friend.

Veronica lands hard in the lake, but not enough that it would be a problem - at least, not normally. But there's something of an internal struggle, and from inside, the real Veronica forces the one inhabiting her body not to fight. She comes very close to drowning before Logan rescues her. Though the others remain cautious - Behrooz keeping the gun ready, just in case - the Veronica that wakes appears to be the real one.

She immediately runs to Rachel, and begs the telepath to destroy the second consciousness. Rachel does so, but although Indy seems convinced that this is the end, Rachel herself remains wary. Veronica asks to be put in the cells, "for everyone's sake," and Rachel agrees. Everyone returns to the Bar.



The End!
watching_you: (Shoulders squared)
Veronica pushes ahead, and leads the way out onto the bar's sloping back lawn. Above, the sky's a dark purple shading to black - below, colours are becoming irrelevant as night vision slowly takes over.

The grass crunches beneath Veronica's sneakers as she makes for the lake, doing her best to keep her pace from quickening, to keep Logan from becoming suspicious of her true intentions. To this end she fixes her eyes on some spot on the distant shore, as though perhaps she's watching the trees for the sign of some nighttime predator, or simply preparing for the long wait until sunrise. With luck this gives her the appearance of being serious, but distracted, an appropriate air for someone who's about to have a Serious Relationship Discussion with her just-recently-ex-boyfriend.

Her bag swings back and forth and slaps her lightly in the side with each step, making her acutely aware of the added weight.

When they reach the lake - a slightly secluded area of it, far enough from the lights of the bar - Veronica stops, and waits for a moment before turning to face Logan, noting somewhere in the back of her distracted mind how different the lake air smells from the ocean she's used to.

Finally, she clears her throat. "So."
watching_you: (Frowning/Watching)
[After this.]

Moving quickly, Veronica slips into her room, closing the door behind her and locking it. For a moment she stands still, leaning against the wood and catching her breath. Then she reaches a hand back, lifting her blazer, feeling for the weight of -

- the gun.

It's done, then; too late to turn back now. She pulls it from her waistband and throws it into her shoulder bag, marvelling at how nearly it fits between her wallet and mascara. Then she moves about the room, taking things she cannot afford to leave behind: laptop, camera, cell phone charger, shoving them all into a duffel bag.
watching_you: (Distant)
When Veronica opens her eyes at last she lies very still for a long time, certain that she has drowned within the confines of her own mind.




A metaphor, perhaps, is in order.

You wake in the morning, and due to - your radio alarm, a lingering dream, a triggered memory: take your pick - a song begins to play in your head. Maybe it's just a tune, maybe there are lyrics. Maybe you even hum along in sync with the melody, or tap your fingers along with the beat. It's such a little thing, really, and you are content to let it rest there, serving as a backdrop to the rest of your daily thoughts.

But the next day, the song is still there. And now, with your attention drawn to it as it is, the tune is becoming a distraction, a frustration. You try to drown it out, or try to listen to something else, but it refuses to leave you. If anything, despite your efforts, it grows stronger, louder.

The next day is much the same.

And the next.

And the next still.

Eventually you hear nothing but song, you know only the words that form its lyrics. Your movements are punctuated by beats of the percussion, regular and measured; you clench your jaw in a sympathetic rhythm with the bass line. When others speak, their speech is piano chords, guitar riffs.

In time, you fade away, until only the song remains.




We return then, to Veronica, metaphor in hand.

She has been listening to the same song for more than a year.

For a long time it was background static, a quiet hum that Veronica, being quite clever, was easily able to tune out. But it has been gaining, and ever since the House it has been - for lack of a better term - loud. Enough so that Veronica has steadily been losing herself for weeks. And as she slips away, something else steps forward.

The first time she realized something was wrong, she was only moments from ordering that Madison Sinclair's expensive new car be crushed into a cube. But since that, it's only become more prevalent: Constant flashes of concocted memory of Logan and Madison, and of Duncan and Meg even, for some reason, after all this time; stretches of time where, though she cannot say why, she feels nothing but bile and bitterness toward every other human soul; sharp, biting headaches; blackouts.

The blackouts are the most worrying. They stretch for days now, coming on without warning, and Veronica wakes from them to find herself - by the lake, in the corridor, starting out the Observation Window - always somewhere different, with no idea how she has arrived there. It is almost a blessing when, this time, she finds herself in her own bed.

But it's dark, so dark, in the room, and Veronica lifts her arm to turn on the bedside lamp -

- her arm -

- her arm does not move.

She attempts to cry out, to force her body out of the bed, but all of this has no effect. She is trapped, so still, no longer in control.

Although Veronica is terrified, her heart rate does not increase. The pulse remains steady, loyal to one constant rhythm.
watching_you: (Distant)
When Veronica returns to herself this time, she finds herself bent almost double over her desk, nose barely an inch away from a notebook that she has filled with angular black writing. Slow, she straightens her spine, working aching muscles, and unfolds herself from her chair. It's dark out, and there are no lights on in the room - she hits the switch on her lamp and blinks painfully into the overbright glow.

Recovering from this, a number of sensations hit her at once: first, she is tired, a deep in-the-bone weariness that means every movement aches; secondly she is hungry, almost dizzy with it. She splashes some water on her face in the bathroom, then is shocked when she catches her reflection in the mirror. She is pale, lined, her lips cracked.

What have I been doing all this time?

She tries to stay in the shower until she feels warm again, but the hot water runs out first.
watching_you: (I've got soul but)
As the sun sets, Veronica sits at the desk in her room, staring out the window at nothing. Though it's becoming darker in the room, she makes no move to turn on her lamp, despite the fact that soon it will be quite difficult to read the book spread open across her lap.

Truthfully, she hasn't even glanced at the book in over an hour.
watching_you: (Hearst)
Veronica wakes when the sunlight hits her face.

She rolls to the side and slips out of bed, carefully stepping over where Backup is curled up in what has of late become his spot, and makes her way to the bathroom. She starts a shower, as hot as she can manage it without scalding herself, and moves to the sink as the room fills with steam. With practiced movements she brushes her teeth and remembers to floss for once, the action briefly mingling the tastes of mint and blood in her mouth. Then it's into the water, letting her hair become soaked through as she scrubs the skin on her cheeks.

Despite the escaped heat the bathroom air is chilly by contrast, and Veronica hurriedly grabs a towel as she steps out of the shower a minute later. Water droplets pool at her feet as she attempts to wring the moisture from her hair. She steps to the mirror and wipes it with one hand so that she may see herself clearly, and leans in to check her pores. In that moment something black flickers behind her eyes. She steps away, and after a moment goes back out into the hall, making for her bedroom. Class begins in a little over an hour and Veronica needs to read over some notes before she makes her way to campus.
watching_you: (Default)
An introduction.

Part one.
The trial. Veronica's reaction. Logan's reaction. Afterwards, Aaron gets a call from his daughter.

Part two.
Lilly and Duncan discuss the verdict, and what should be done about it. And meanwhile, The Neptune High class of 2006 graduates.

Part three.
Back at home, Veronica receives a phone call from her father. It's good news, but there's a bit more to be done before the case is wrapped up. So, on a hunch, she tries one last thing. And realizes that she was very wrong about something.

Part four.
Already the post-graduation party is under way. With lots of fun and drama, as befitting a Neptune party.

Part five.
Mac and Cassidy head up to their hotel room, but things don't go... well. Afterwards, Cassidy makes his way up to the roof, where he meets Veronica, and eventually Logan. The shit hits the fan, as they say. Afterwards, they go to check on Mac. Mac, who is not really looking to cope with things just yet, returns to Milliways.

Part six.
Logan takes Veronica home, and gets some bad (?) news of his own. During the night, Veronica dreams, and in the morning things are a little btter.
watching_you: ([with keith] comfort)
When the door closes behind her Veronica immediately turns back to open it again.

She shouldn't have let it shut, she tells herself, she should have kept it open. She wasn't ready to let go. Doesn't matter about that stupid clock - something would have been done, she shouldn't have left, she should have waited -

But she didn't, and the door, when she opens it, doesn't lead to a bar with a view on the end of the universe: it's just a closet, pure and simple, dirty t-shirts and shoes she hasn't worn in years. She stands there for a long moment, low on options, realizing that she's walked into a cliché.

(This is the first day of the rest of your life.)

No more Lilly, no more cheating death. No more worlds apart from this. Just Welcome to Neptune, enjoy your stay. You can never really leave.

Veronica sits on her bed for a while, watching the stars, and how wrong does it feel that they're so still, so dull. After all the skies she's seen she's almost unaccustomed to the fact that most nights aren't filled with dancing, and in that back here the lifeless black swallows more than its share of the sky.

Keith enters, after some unmeasured stretch of time, and puts a hand on her shoulder.

"Are you okay?"

"Just thinking about Lilly," she says, and it's not entirely a lie.

"Oh," he replies, and touches her cheek. "You're crying."

And so she is. She hadn't noticed.








She doesn't let it get her down, but it's through sheer will: she goes to work, shops for school supplies, makes as complicated a dinner as she can manage with what she's got, doesn't slow down. She does everything she can think of not to dwell on it, and keeps telling herself, this is a normal day, this is how things were before, this is what you're used to. Even then she doesn't really buy it.

Every door lets her down.

It's evening at last - Veronica returning from her weekly chore of taking out the garbage - when she finds one, and almost cries right there in the courtyard. The way the door creaks at her, it seems to say, oh ye of little faith, and then more kindly, you can come back, if you like.

"Thank you," she says, to no one. And without waiting any longer, she steps through.
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