ANSWERED ASK - MARIA

@blondiexbiites cont from (x)

Sharp, viper-like browns study the face of her latest captive as Maria leans back on her chair, heeled boots rested up on the metal table in front of her. The only furniture in the long abandoned warehouse she used for such interrogations as the one she had planned for the blonde. Pretty, like a sleeping beauty; though Maria is not easily fooled. Her own youthful beauty had fooled many men, but only another woman knew how the outward appearance of innocence could be weaponised against those who would underestimate her. A venomous creature wrapped in a pretty pink bow. One who had been making far too much noise in Maria's territory, and who had not heeded her first warning to move on and find a new hunting ground. The Mexican commander didn't give second chances.

Her right hand and some of her more trusted soldiers had tracked the blonde to the outskirts of the region, disoriented her with their chase until she was wandering the desert, starved of blood, and then struck. The vervain laced cuffs chained around the concrete pole had done their job keeping her at bay, though Maria had grown tired of waiting. Standing up, Maria slinks toward her like a snake inspecting its prey before the final strike. Crouching down in front of sleeping beauty, she waves the vial of blood beneath her nose. Something that would even make a vampire stir from a thousand year slumber were they hungry enough. "Levántate y brilla, princesa."

As the blonde begins to stir, Maria shoves the vial back into the pocket of her leather jacket saving it for later use. Eyes flash like a warning sign, the Mexican queen laughs dryly at the first words from her prisoners mouth. Crimson lips curl sharply into a dark smirk. "Oh, that's sweet you think this is a game." Head tilts to the side, inspecting the wound at the others head that was having trouble healing, likely put there by her soldiers. Slender hands reach to touch it, though the roughness with which her thumb strokes at the scar could hardly be mistaken for a caress. "I am sorry for the violencia, little one, but if you had listened to my first warning it would not have come to this." Maria pouts, feigning regret. She was never that sorry for violence; it was something she felt quite at home with, in fact. She lets go of the others head, standing up with a sigh as she turns, her back to her captive. "You have been making such a mess around town my generals have only just managed to clean up. One might say it seems like sabotage...." She reaches the table, inspecting the instruments of torture in front of her. Reaching for a sharpened dagger still glistening with vervain, Maria turns back to face her prisoner, one hand in her back pocket as she waves the weapon in the other. "I'm only going to ask you once - why didn't you leave when I asked you?"

Did a nearly 10 hour day today so I’m dead but have tomorrow off so hopefully will get to some replies then. In the mean time, pls don’t hesitate to send me memes if you like 😊

DYLAN O’BRIEN & VICTORIA PEDRETTI → AMAZING STORIES, “THE CELLAR”

I know the first time Vera heard Chappell Roan she fell to the floor

i honestly prefer to kick a man when hes down. its the easiest time to do it

Her brow creases ever so slightly at his words, eyelids flickering in an attempt to cover the emotion in the brown pools behind them - lest they betray her to her captor. Violent. A thing she had been given no choice in becoming. From the violent act that had forced her into this immortal existence to the one that had tried to snuff it out, it seemed she could never escape the violence of this world. Didyme had decided to embrace it, though reluctantly. A part of the self that Aro had buried with a dagger in her heart screamed against it from beyond the grave, behind her eyes. "I am the farthest thing from breakable." Her response as icy as the man gazing down at her.

"And I am telling you that I do not know where the dagger is. It was the least of my concerns when I awoke after THREE THOUSAND YEARS!" Delicate hands twist in their bindings, laced with something keeping her weakened though nothing her ancient blood couldn't eventually work through. "We can do this forever, though I doubt you can wait that long."

open to: m/f/anyone plot: Viktor has kidnapped y/m for information pertaining to an ancient & magical object he needs in order to resurrect his mother from the dead. y/m is less than compliant at the moment. hmu if you wanna plot! connection: strangers, old acquaintances, anything works~

"Fascinating." Viktor said, his tone reflecting little emotion outside of the very word he'd spoken; fascination. At least they weren't trying his patience, yet. Despite being on a schedule of sorts and constantly evading his younger brothers' pursuit and sabotage, Viktor was patient and didn't mind taking his time to get what he wanted.

Dark brown eyes moved slowly over the individual, taking in details and subtle cues in their body language, his lips quirking just a bit at one corner as he met their gaze again. He wasn't deterred by the fiery inferno of emotions he glimpsed there, his calm aura was more a threatening force than anything reassuring. It was always the silent brooding people that could be the most lethal and the Russian had certainly been taught to attain more than just fatality.

Viktor removed one of his hands from his pocket, sweeping his long fingers over his stubble before he chuckled, the sound low and holding only a fraction of the amusement he expressed verbally. "You look all frail and breakable but, you're really a violent little thing, aren't you?" His head shook, that hand caressing his chin thoughtfully moved to push through his hair and over his head as he shifted on his feet to lower himself onto a chair.

Anya Taylor-Joy British GQ (2024)

KNOCK - KNOCK PROMPTS.

listen i recently became obsessed with the amount of television shows that have a mystery person knocking on the protagonist's door as a major finale cliffhanger, and it got me thinking, and now we have this list that a few immensely talented people helped me with! that said, we know the drill by now. DO NOT ADD TO THIS LIST OR CLAIM IT AS YOUR OWN! IF YOU HAVE IDEAS FOR MORE PROMPTS SEND THEM TO ME AND I WILL ADD THEM!

[ KISS ]: sender shows up at the receiver's door and impulsively pulls them in for a passionate kiss that punctuates a lengthy slow-burn between the two.

[ WOUNDED ]: sender arrives at the receiver's door with considerable injuries, in dire need of help and emergency care that only the receiver is either trusted enough or convenient enough to provide.

[ TEARS ]: sender shows up at the receiver's door in tears and in need of comfort after a long day (or week, or month…)

[ DEFEATED ]: sender arrives at the receiver's door after having lost a considerably important battle (metaphorical or literal) and needing a place to recuperate from the loss.

[ FUGITIVE ]: sender, having just become a fugitive from the law, runs to the receiver's home in the hopes of finding shelter and safety with them.

[ GIFTS ]: sender arrives at the receiver's house with gifts for the homeowner themselves.

[ APOLOGY ]: sender goes to the receiver's house to apologize to them for a past wrong-doing (specify if you wish!)

[ DATE ]: sender arrives at the receiver's house to take them on a romantic date.

[ HANG OUT ]: sender arrives at the receiver's house to hang out with them for the day.

[ GO OUT ]: sender heads to the receiver's house to take them out for a day of fun/relaxation.

[ COLLECT ]: sender shows up at the receiver's house to collect something that the receiver has either purchased for them or borrowed from them.

[ DELIVER ]: sender shows up at the receiver's house to deliver something to them that either the sender borrowed or the receiver requested from them.

[ CONFRONT ]: sender goes to the receiver's house to confront them about an on-going problem between the two of them.

[ FAVOR ]: sender goes to the receiver's house to ask them for a favour.

[ RECRUIT ]: sender goes to the receiver's house to recruit them for an upcoming task that the sender is unable to do alone.

[ ROOMIE ]: sender goes to the receiver's house to move in with them.

[ COMFORT ]: sender goes to the receiver's house to comfort them after the receiver has a difficult time or experiences a significantly difficult event.

[ HELP ]: sender goes to the receiver's house to help them with something that the receiver is either procrastinating or unable to accomplish on their own.

[ LEISURE ]: sender goes to the receiver's house for a movie night or a game night.

[ WARN ]: sender goes to the receiver's house to warn them against doing something that they suspect the receiver is preparing to do.

[ THREATEN ]: sender goes to the receiver's house in order to threaten them.

[ REUNITE ]: sender returns to the receiver's house after having been away for a while, intending to reunite with them.

[ GOODBYE ]: sender goes to the receiver's house to say a final farewell after learning they're due to leave town, possibly for good.

[ SECRET ]: sender sneaks out to the receiver's house to meet with them in secret.

[ BAD NEWS ]: sender arrives at the receiver's doorstep to deliver some bad news to them (SPECIFY THE NEWS).

[ PARTY ]: sender arrives at the receiver's house to attend a party that the receiver is hosting.

[ NEIGHBOUR ]: sender, having just moved in next door, arrives at the receiver's house to introduce themselves.

[ ENGINE ]: sender's car breaks down in the same street that the receiver lives on, leading the sender to knock on their door to ask for help.

[ PRETEND ]: sender knocks on the receiver's door to ask them to pretend to know them for the sake of a cover story.

[ VISIT ]: sender goes to the receiver's house for a casual visit.

FOR THE “YOU CAN KILL ME BUT DON’T YOU DARE TOUCH THEM” DYNAMICS 

❝  i only want you.  ❞

❝  i don’t need anyone else.  i just…you.  you’re all i need.  ❞

❝  listen,  i’ve lost a lot of people in my life.  i learned how to deal with it but…you’re different.  i can’t take it if it’s you.  ❞

❝  i think about anything happening to you and i— i just.  i fucking lose it.  ❞

❝  you don’t understand.  i need you safe.  not because i don’t think you can handle yourself but because i can’t focus on anything else if there’s even the smallest possibility you’re in danger.  ❞

❝  no one is ever gonna get near you again,  you hear me?  ❞

❝  i won’t let you get hurt.  i promise.  and i don’t make empty promises.  ❞

❝  turn around.  you don’t need to see this part.  ❞

❝  just give the word and i’ll kill every one of them.  ❞

❝  you can’t get all worked up every time something happens to me.  that’s just life.  you’re not always gonna be able to protect me from it.  ❞

❝  no one else understands me.  but you do.  you always do.  ❞

❝  i don’t think i’m the best person for you,  i don’t.  but i do know i’m the one that can keep you safe  ❞

❝  hey—  look at me.  it’s over.  it’s done.  we’re okay.  ❞

❝  who the fuck made you cry i’ll fucking rip their head off.  ❞ 

❝  i know you’ve always got my back.  ❞

❝  please,  let me take care of you this time.  you’re always protecting me but it tears me up inside every time you get hurt because of it.  ❞

❝  can you make everyone else just go away?  i know they mean well but i just want to be alone—  alone with you i mean.  ❞

❝  i know when you’re here,  the real monsters can’t touch me.  ❞

❝   oh,  i am one of the monsters.  but that just means i can keep all the other monsters from ever hurting you again. ❞ 

❝  if you’re gonna keep risking your life for me than you’re also gonna let me patch you up without a single complaint.  ❞

❝  we keep each other safe.  it’s my turn to protect you.  ❞

❝  i killed them for you.  i know you could’ve done it yourself,  but you shouldn’t have to.  ❞

❝   i love you because i know how capable you are.  and i show that love by making sure you don’t have to be the one to always do the hard things.  ❞

❝   i’m gonna make them regret ever even thinking about laying a hand on you.  ❞

❝  tell me what you want me to do.  i’ll do it.  whatever you want.  ❞

❝  i love you just like this.  i love you when you touch me gently like no one else ever has.  and i love you when your hands are bloody and your knuckles are bruised. ❞

❝  please,  just let me protect you.  ❞

❝  are you hurt?  did they hurt you?  ❞

❝  wait,  stop you’re bleeding.  ❞

❝  did you just wince?  where are you hurt?  ❞

❝  i need you in my life.  i’m not used to that—  needing people.  but i do need you.  ❞

❝  you make me feel things i’m not used to feeling.  ❞

❝  why do you let me close when you’re always driving everyone else away?  ❞

❝   you’re mine.  and i protect what’s mine.  ❞

❝  thank you for always being here for me.  ❞

❝  you see things in me that i didn’t even know where there.  ❞

❝  that’s enough.  let’s go home.  ❞

❝  i’m okay now.  i’m safe.  you don’t have to be angry anymore.  ❞

❝  please stop—  this is scaring me. ❞

❝  you don’t have to do this for me.  ❞

❝   hey stop— stop!  look at me.  they’re dead now.  you can stop.  ❞

❝  i have to make an example outta them so no one else tries to hurt you again.  ❞

❝  killing for you is easy.  it’s right.  it feels natural.  ❞

❝  let me do this for you.  ❞

SCENARIOS

[ ONE ]  for sender to take a bullet for receiver. 

[ TWO ]  for receiver to take a bullet for sender. 

[ THREE ]  for sender to protect receiver and then carry them to safety. 

[ FOUR ]  for receiver to protect sender and then carry them to safety. 

[ FIVE ]  for sender to witness receiver get hurt which sends them into a violent rage.

[ SIX ]  for receiver to witness sender get hurt which sends them into a violent rage. 

[ SEVEN ]  for sender to be hurt trying to protect receiver which makes them bloodthirsty for revenge.

[ EIGHT ]   for receiver to be hurt trying to protect sender which makes them bloodthirsty for revenge.

[ NINE ]  for sender to have violently protected receiver,  so receiver kisses them to calm them down. 

[ TEN ]  for receiver to have violently protected sender,  so sender kisses them to calm them down. 

[ ELEVEN ]  for sender to carefully approach receiver in the aftermath,  gently touching them to try and bring them back to themselves. 

[ TWELVE ]  for receiver to carefully approach sender in the aftermath,  gently touching them to try and bring them back to themselves. 

[ THIRTEEN ]  sender was kidnapped,  receiver shows up to save them.  

[ FOURTEEN ]  receiver was kidnapped,  sender shows up to save them.  

[ FIFTEEN ]  sender executes a third party in front of receiver because that person hurt them. 

[ SIXTEEN ]  receiver executes a third party in front of sender because that person hurt them. 

[ SEVENTEEN ]  sender thinks they’re alone but receiver comes out of nowhere to rescue them from someone who intends to do harm/making them uncomfortable. 

[ EIGHTEEN ]   receiver thinks they’re alone but sender comes out of nowhere to rescue them from someone who intends to do harm/making them uncomfortable. 

[ NINETEEN ]  sender has been devastated by something.  receiver holds them until they calm down so they don’t do anything drastic. 

[ TWENTY ]  receiver has been devastated by something.  sender holds them until they calm down so they don’t do anything drastic. 

[ TWENTY-ONE ]  sender thought receiver died so they set out to get revenge.  receiver shows up in time to stand in front of them before they go too far.  

[ TWENTY-TWO ]  receiver thought sender died so they set out to get revenge.  sender shows up in time to stand in front of them before they go too far. 

[ TWENTY-THREE ]  sender is in a vengeful rage because of something that happened to receiver.  receiver gently approaches to calm them down saying this isn’t what they want. 

[ TWENTY-FOUR ]  receiver is in a vengeful rage because of something that happened to sender.  sender gently approaches to calm them down saying this isn’t what they want. 

[ TWENTY-FIVE ]  for sender to have receiver stand by somewhere safe where they can watch sender kill on their behalf. 

[ TWENTY-SIX ]  for receiver to have sender stand by somewhere safe where they can watch receiver kill on their behalf.