Piotr Nikolaievitch Rasputin (
steelartisan) wrote2008-07-27 02:57 am
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Not a member of defy_ka with this journal. Oops. So the random AU thread goes here instead!
Piotr is ensconced on a rock outside Milliways, with a large sketchpad in his lap and a pencil case sitting on his empty bag.
He's working with charcoal at the moment, and from memory. The image slowly taking shape is that of a woman, with long pale hair in a braid and a lopsided half-sad smile.
He's working with charcoal at the moment, and from memory. The image slowly taking shape is that of a woman, with long pale hair in a braid and a lopsided half-sad smile.
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She realizes, belatedly, that she hasn't said anything in quite a few seconds; her eyes hurriedly lower to the sketchpage. "It's--" She traces a daffodil with a slender finger. "They're really very flattering."
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"They are not perfect. I try to draw what I see. Is all."
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(When she smiles, it's at him, not the paper.)
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"Da. I have been told."
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She makes as if to lift the next page, and looks up at him. "Do you mind...?"
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She'll find a collection of sketches: some rough, some detailed, and mostly in pen and ink with a few colored (or half-colored) in pencils or markers. Most of the drawings are of people, though there are some landscapes and objects and abstract collections of shapes mixed in. She'll see familiar faces from Milliways scattered through the book. Other faces are unfamiliar, but several of them recurring: sometimes in civilian clothes, sometimes in spandex, and sometimes figures (abstract, or half-finished, or with faces obscured or turned away) whose identity is unclear.
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Where Piotr's talent truly lies, Maya thinks, is in capturing faces. A man frowning with a glint of surly humor in his eyes (Logan, Maya recognizes, and her smile is swift and sudden); a white-haired woman staring regally out of the page (the white eyes catch Maya's attention; this must be Storm, she thinks, and she lingers over it). There is a page of half-colored blonde girls, each abandoned before completion, and in the largest drawing, Maya sees a smile that she thinks looks like Piotr's at its brightest.
There are groups of men and women in spandex, and in ordinary clothes; her eye is drawn to the grinning woman with a small dragon wrapped around her neck, and she smiles again, softer this time. On another page, Laura, caught mid-kick, her hair fanned out behind her.
There are dozens of them, some thumbnail sketches, some looking fleshed out, like they could step off the page if they so chose.
"How long have you been drawing in this book?" she asks, finally. ('My God' goes unspoken but heavily implied.) She turns the next page.
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"I am not sure. I have a few."
Art is a hobby; it's also a coping mechanism for stress (most of the time) and for boredom, and there are times when Piotr has a lot of free time.
And, of course, times when he has none at all, and is nowhere near a sketchbook.
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"It is good for many moods. And the only way to get better."
And he's never liked to spend long stretches of time doing nothing. He has the value of work too much ingrained for that.
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"There is always room to improve," he says, but placidly, and teasing a little in return. He's good, and he knows it; still, there is always room.
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(There is an old adage about a pot and a black kettle; Maya would like it, if she knew it.)
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"I don't know," she says, smile turning a touch softer. Her eyes flick down then back up to him, so fast that if it weren't for the telltale swift move of her eyelashes, it would be impossible to notice. "I don't see too much room for improvement here."
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"Da."
"I have no complaints."
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The plus -- or minus -- side of lacking pupils: it is exceedingly difficult to tell when her eyes slip to his smile, then hurriedly back up again.
"Not bad, for two incurable perfectionists."
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"We are managing, I think."
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She shifts, too, in several nimble movements that leave her sitting cross-legged with her hands in her lap.
If her knee bumps his in the process, it isn't on purpose -- but she isn't in a rush to move it once settled, either.
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...Nah.
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The time for patience and the slow, cautious dance is passing, she thinks, watching the sunlight play across his face; feeling that solid, warm point of contact between them. Maybe it's time to go for broke; to take a risk.
She takes a deep breath and says, "Piotr--" but the problem is, she hasn't thought beyond that. Her sense of conviction isn't much help.
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Take a risk.
She doesn't allow herself time to think about it.
She reaches for him -- her palm on the back of his neck and her fingers slipping into the short hair at his temple, just behind his ear -- and she swiftly leans in and up and kisses him.
(Her heart is pounding.)
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But after the first startled instant (barely an instant, and he's already leaning down to meet her as she darts in) one hand rises to cup her cheek lightly, and -- this is Piotr, really not complaining.
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Maya didn't expect much different, but it's still a crushing relief; still a thrill. She eases off a little; the pressure of her lips turns less fierce, less desperate. She doesn't need to fight for him.
She brushes kisses along the line of his mouth, to the corner, and she lingers there before she leans back, just enough that she can see his eyes; not enough that she has to move her hand.
For a minute, she doesn't know what to say; for a minute, she really isn't thinking about it, because she's a little preoccupied with how hot her cheek is under his palm, and with smiling. Her face is shining.
"I got impatient," she says, and she almost laughs.
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