[It was an alarm light flashing from the first message. Danny used directness like that as a smokescreen, or amped it up to a hundred as aggressive armour, driving people back from the vulnerable underside with violent hypersexuality, painted out in a truly impressive use of imagery. He didn't admit to wants or needs. He didn't admit to uncertainty, either.
He'd come at Takeshi the same way, that first week. Uncharacteristically direct, something already shattered, need leaking through. Urgency rises stronger for this, a second incident, but Takeshi can't just follow it, respond like this is the call for help he knows it is. There are lines he has to keep steady, here. For both of them.]
i want ( not a lie, but that's not right, either, so he corrects mid-sentence: ) i need you on me.
it ain't a house call 'cause i ain't ordering you to do anything. i ain't ordering you to want me back. ( where kovacs has always sat, between want and loathing, that unreadable space danny can't dissect cleanly. right now he's uncomfortably aware of how many times he's said i and how many times kovacs has said you. )
no subject
He'd come at Takeshi the same way, that first week. Uncharacteristically direct, something already shattered, need leaking through. Urgency rises stronger for this, a second incident, but Takeshi can't just follow it, respond like this is the call for help he knows it is. There are lines he has to keep steady, here. For both of them.]
You do know. You make the choice, Danny.
no subject
it ain't a house call 'cause i ain't ordering you to do anything. i ain't ordering you to want me back. ( where kovacs has always sat, between want and loathing, that unreadable space danny can't dissect cleanly. right now he's uncomfortably aware of how many times he's said i and how many times kovacs has said you. )
i just need you on me. i want you.