OfficeAnon

[RGR] The Love Triangle

Aug 8th, 2014
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  1. > Day NEET No More in Equestria
  2. > Despite the best treatment from the princesses - inter-dimensional guest thing - your pride would not let you sit still
  3. > You've been browsing through classified ads in Canterlot's local paper for the past week and you have finally scored an interview at some Advertising Agency
  4. > Eh, whatever, seems easy. Right?
  5. > You play that sequence of events out in your mind as you straighten out your tie
  6. "Alright Anon, gotta win 'em over. Just like Dad said, good line of bullshit can get you anywhere."
  7. > You grab your cutout of the their ad, quickly memorize the address, and pocket it - just in case.
  8. > With that, you nervously slick your hair back, brush some lint off your coat and head out.
  9.  
  10. > After walking around for probably longer than you needed to, you finally spot the building
  11. > It's a small office building, with the sign out front declaring that this was "Gimmick's Marketing, LLC"
  12. > You glance at the cut-out ad, followed by your watch.
  13. > Bingo. Right place, right time - for once anyway.
  14. "Here goes nothing."
  15. > You take a deep breath and open that door like you own the fucking thing.
  16. > And the first sight that greets your eyes is:
  17. > Mares.
  18. > A lot of them.
  19. > Alright, so maybe the entire office place is mares.
  20. > Only one or two glance your way, the rest continuing on about their business
  21. > Your earlier overly-dramatic bravado, fades a little.
  22. > Not that you weren't 100% confident around the ladies...
  23. > Its just... that kinda caught you off guard a little.
  24. > Either way, you shrug off the pasta that seems to be rooted into your soul and march up to the receptionist.
  25. > Before you sits a light brown earth pony, with a gold and sandy two-tone mane.
  26. "Uh, hi there. I've got an interview scheduled with a... Miss Gimmick."
  27. > She looks up to you her previously bored expression changing to a more energetic, nigh-on mischievous look
  28. > Readjusting her glasses, she eyes you up, sporting a large grin.
  29. > "Well, aren't you a tall drink of water."
  30. > She giggles slightly afterwards
  31. > "Even for a handsome thing like you, I'm afraid you're gonna hafta wait a few minutes while Ms Gimmick finishes up another interview. Feel free to take a seat over there, hun."
  32. > Wow. You barely know this mare and already she's giving you a lot of come-ons.
  33. > Despite this... oddity... you take a seat.
  34.  
  35. > You glance up to the mare at the desk.
  36. > As she finishes speaking into an intercom, she looks back up at you and grins
  37. > Not just any normal grin. A toothy, kidna hungry grin.
  38. > Oh my.
  39. > You straighten your tie again and adjust your posture.
  40. > Shit. She's eyeing you up harder.
  41. > Right, not gonna lose a potential job because of another "sexual harassment" incident.
  42. > Man, fuck Deborah.
  43. > Your inner thoughts are broken by the sound of a door opening off to the right of the receptionist's desk.
  44. > You see two mares leaving the room, exchanging a few pleasantries before departing from each other's company.
  45. > One of the mares - an azure coated unicorn with a cyan mane - trots up to greet you.
  46. > "Ah, you must be Mr. Anonymous. Come with me, my office is this way."
  47. > You simply nod and stand up to follow her.
  48. > As you pass by the receptionist, you see her give you a wink and a smile before turning back to her paper work.
  49.  
  50. > Seating your self, your potential boss closes the door and sits down behind her desk.
  51. > Reaching into your coat pocket your produce your resume and lay it across the oak surface
  52. > "Ah, thank you. I am Gimmick, owner and proprietor of Gimmick's Marketing, LLC."
  53. "It's a pleasure. I'm Anonymous."
  54. > She looks down at your resume and then back up to you.
  55. > Everything should be in order. You briefly ponder what the issue could be. Then it hits you.
  56. > Fuck.
  57. > You don't really have any employment history here in Equestria. Any jobs you had, you were paid under the table simply because they were one-off jobs.
  58. > Your IT skills from Earth aren't really applicable in a world without computers
  59. > And you think you forgot to dot an i somewhere in there.
  60. > Holy shit, your oral skills had better be good here or your ass is not getting a job.
  61. > "So, tell me, Mister Anonymous, what is it that you could bring to the table for my company?"
  62. > Wow. Even with all that shit, she still insists on continuing this interview.
  63.  
  64. > You've drawn three conclusions from this:
  65. > 1) You have a Luck of 10
  66. > 2) You have a Charisma of 10, turned up to 11 today, or
  67. > 3) Equestria has affirmative action.
  68. > Either way, you are not letting this opportunity slip by.
  69. "Uh..well, I figured its an advertisement company right? My friends back home used to think I was really clever. I could come up with a dozen memorable one-liner phrases in less than a day."
  70. > That's right Anon, sell it.
  71. "I'm like a... one-liner machine."
  72. "A line-chine, if you will. A, uhm, a catch-phrapist."
  73. > Going once, twice, sold to the steely cold unicorn.
  74. > Well, sort of. She simply cocks an eyebrow at you, glancing down at your resume.
  75. > She clears her throat, "Well, wittiness is a useful skill in this business."
  76. > "Now, another question. Why is it that you wish to work here?"
  77. > Right, how to go about this.
  78. > I'm tired of feeling like a bum? No.
  79. > I don't want to make my whole species look like we're niggers? Worse.
  80. > They made me do it? Still no.
  81. > Your deliberation seems to have generated a... different effect.
  82. > "Uhm, n-no offense, i-it's just that we don't get many stal- *ahem*, males who are active members of the workforce, here in Equestria."
  83. > Well, that would explain all the mares then.
  84. "Oh, no, it's perfectly fine, ma'am."
  85. > She noticeably breathes a sigh of relief at this.
  86. > Admittedly she has been looking... uptight, this whole interview. Almost like she's worried about something.
  87. > Eh, probably nothing. Although judging from this, you can't have done too badly.
  88. > "Right, Mr. Anonymous, that should conclude our interview. We'll contact you as soon as we can."
  89. > She gives an Emmy-winning smile with this, even holds the door open for you.
  90. "Well, I, uh, thank you for your time Miss."
  91. > "Oh, its no trouble at all! Really. Have a good day now!"
  92. > Lord she seems nervous about something.
  93. > You simply brush this off and make your way out, trying your hardest to brush off the advances of the receptionist
  94.  
  95. > You are Gimmick
  96. > And by Celestia you are so fucked
  97. > Moments ago, not only did a beneficiary of the princesses show up to get a job here, but a male of all things.
  98. > The worst part is, you've either got to take him on, or risk bad publicity due to discrimination
  99. > You let out a sigh and run your hooves across your muzzle and through your mane
  100. > You briefly glance at your planner
  101. > Two more interviews and then a meeting
  102. "URGH!"
  103. > You punctuate your audible groan by putting your hooves back onto your desk followed by your head
  104. > After a few minutes of trying to reign in your frayed nerves you speak into your intercom
  105. "Hey, Sweets, could you send the AM to handle that meeting?"
  106. > You didn't bother listening for the reply
  107. > You merely tried to bolster back a sense of confidence to tackle those last few applicants
  108. > You let out a quick breath and stand up to greet whoever was next.
  109.  
  110. > Day Affirmative Action in Equestria
  111. > It's been a week and Gimmick called.
  112. > Congratulations! You're now employed
  113. > Feel free to celebrate by singing the company song
  114. > Or you know, reporting for work.
  115. > Either way you don one of your many suits, grab your briefcase and make your way to your new job
  116. > Today is gonna be a good day, you can feel it.
  117. > You can also feel the eyes on you as you walk into to your new workplace
  118. > Oh boy, this is gonna get awkward.
  119. > But before your social skills can evaporate, you're greeted by Gimmick herself
  120. > "Ah, Anonymous! Welcome aboard!"
  121. > At this point the mares working have gone from staring while working to completely gawking
  122. > Others are sporting cheeky grins
  123. > You even hear a wolf whistle or two
  124. > Can't tell if reverse sexual harassment
  125. > Either way you try your best to suppress a grin from the attention and simply give a polite wave
  126. > With increasing nervousness over the actions of her employees, Gimmick attempts to continue with the introduction.
  127. > "You workspace is there in the corner. Feel free to great your co-workers, although I get the feeling they'll be more than happy to introduce themselves."
  128. > She offers a nervous smile before continuing.
  129. > "Now, I've already explained this to your co-workers, so go to them for any extra details. I've got to continue negotiating this contract to see exactly what she's looking for; so I'll give you the quick explanation."
  130. > "Princess Mi Amore Cadenza has asked us to help with her PR AND help us with her start-up relationship counseling business. Best of luck Anonymous!"
  131. "Uh, thanks boss."
  132. > She turns to leave but it seems as though she is struck by an epiphany as she turns back around.
  133. > "Oh, and Anonymous... if they give you any trouble at all... just, uh, let me know. Alright?"
  134. > With that she trots back into her office.
  135. > Dafuq.
  136. > What did she even mean by that?
  137.  
  138. > It's only 1 o'clock and you're still stunned
  139. > Mostly because you are either dreaming or have Charisma 11.
  140. > Since you got hired the receptionist - Sweet Talk - has been hitting on you during every one of her breaks.
  141. > Vitamin D, deficieny?
  142. > Hell, you don't know.
  143. > And right now, you don't really care
  144. > You stare into your empty mug then draw your eyes across an assortment of color strips, business cards, and papers with potential designs on them.
  145. > Art really wasn't your strong suite - but they didn't quite need a catchphrapist just yet, that and you had hands.
  146. > Did make the day long, but without any proper creative juices its gonna get longer
  147. > Right, gonna need more coffee
  148. > You grab your mug and make your way to the breakroom
  149. > However, before you can cross the threshold, you stop yourself
  150. > "I dunno, something about a stallion that can just... take charge like he did REALLY gets me going."
  151. > "I can see what you're saying, but it's still such an odd thing. I mean don't get me wrong, he is rather dashing for a..."
  152. > "A Human!"
  153. > "What is your obsession over him?"
  154. > "Yeah, you don't even bother to talk to him."
  155. > "Well-"
  156. > "Making eye contact doesn't count as actual contact, hon."
  157. > "I WAS going to say, I just...I like his hands. The thought of them. And his eyes, his eyes too."
  158. > "Ha, we know what you're thinking about! Don't hide it!"
  159. > You hear a chorus of laughter following that remark
  160. > Damn, and its seriously only day one.
  161. > Honestly, you'd be more bashful after this, but fuck it. You've got deadlines you now need to meet.
  162. > You walk in, albeit trying to surpress a shit eating grin
  163. > Even more so as the room gets quite while you enter
  164. > Your eyes meet a set of golden ones, attached to a mint-clad unicorn sporting a blush so hard you could swear she had a different coat color
  165. > For her sake, and probably for the sake of your job you ignore it and get your coffee.
  166. > Of course, you add a little flair with your hands to what you do.
  167. > Alright, so fuck the job, you're gonna have a little fun with this.
  168. > Just before you cross the threshold on the way out, you toss a quick little smirk followed by a wave her way
  169. > Heading back to your desk you swear you can hear a couple whistles and an "Atta girl!" somewhere in there.
  170. > Aside from a lot of overt flirting from your co-workers, you manage to get a surprising amount of work done
  171. > Which is good, as you notice two things sitting on your desk as you return from your 5th coffee run this afternoon
  172. > Firstly: A memo from Gimmick to all those working on projects for Princess Cadance
  173. > Secondly: A simple note...from a secret admirer.
  174. > Well, probably not so secret, but its a nice break from the audaciousness of her co-workers
  175. > You set the love note aside to read Gimmick's memo
  176. > Something something, placation, something, congrats, something
  177. > 'In the event deadlines need to be extended, Princess Cadance will personally inspect current progress on all projects.'
  178. > Something something, 'Visitation expected next week'
  179. > Well, shit.
  180.  
  181. > Visitation Day in Equestria
  182. > And thank whatever diety that may or may not exist, because you finally have these cards done
  183. > A soft, eggshell white
  184. > Fuschia border
  185. > Blue, Golden, and Purple Accents
  186. > Cutie Mark prominently displayed
  187. > Embossed Title of the business
  188. > Fuck me, this thing is perfect.
  189. > Alright, Bateman, end the soliloquy. You've still got to send this in to-
  190. > Wait, she's coming in for a personal inspection.
  191. > Which may mean bigger changes
  192. > ...
  193. > Fuck it, break time.
  194. > You sit there and down some coffee, your eyes still inspecting your work
  195. > Then finding themselves looking at the rest of your desk
  196. > Finally settling on a love note.
  197. > This was from yesterday.
  198. > Your eyes find themselves on your briefcase, which currently contains all the other notes up until this point.
  199. > You drain the last of your mug and proceed into the break room.
  200. > You get a number of winks, a few passes, even one slap on the ass from Sweet Talk.
  201. > Eh, you're used to it by now.
  202. > What you're not used to, is catching your now not-so-secret admirer
  203. > Approaching your cubicle you see a mint green flank with a lyre on it
  204. > You lean up against the wall with a cup of coffee in your hand observing the note being telekinetically placed on your desk
  205. > The minute the letter makes contact, so do you.
  206. "So, come here often?"
  207. > You give your cheekiest smile the minute she whips around and makes eye contact
  208. > You hear a small "Eep!" but not much else
  209. > She also seems to have shrunken slightly and turned red again
  210. > Too cute.
  211. "Well, even if you don't you're more than welcome to stay for a bit."
  212. > You sit down at your desk keeping your eyes completely on her
  213. > She has only moved to face you
  214. > Well, time to see what's what.
  215. "Huh, well, what's this?"
  216.  
  217. > You pick up the newest letter, unfold it. And read it. Of course, for her sake, you only vocalize certain words or sentences
  218. "Oh? My, well she thinks I'm cute."
  219. "Stunning eyes?"
  220. "Ooh, stud. I like it."
  221. > Well, you're almost certain that all the blood in her body is currently in the capillaries of her face
  222. > You're already in deep, go for it.
  223. "I gotta admit, she sounds like quite the charmer. Very cute, if not bold. A step above what I usually get, I gotta admit."
  224. > You maintain eye contact throughout this.
  225. "You know, I'd really like to meet who this mare is."
  226. > She gasps a little, and begins to smile while avoiding your gaze.
  227. > Well, here goes.
  228. "Shame she only speaks through letters. I'd imagine she has a lovely voice."
  229. > She looks up and opens her mouth to speak, despite seeming at a loss for words.
  230. > What comes out is the voice of a tense-sounding Gimmick.
  231. > Over all the intercoms
  232. > "Alright everypony, touch up whatever it is you're working on and head to the meeting room, Princess Cadance has arrived!"
  233. > This brief announcement is enough to cut short your, admittedly one-sided, exchange
  234. > Minty has galloped off to...whatever she does
  235. > You swivel around, almost spilling your coffee in the process and proceed to gather the various cards you'd been working on - taking care to place your magnum opus at the forefront
  236. > Placing them in a small case, you jump up and haul your ass down to the meeting room
  237.  
  238. > You take a few deep breaths as you reach the doors to the conference room
  239. > Outside you see a few of your co-workers, you recognize them only as heads of the design team
  240. > Seems they were waiting on you
  241. > You brush any lint off your suit, double check your card case, and adjust your tie
  242. > Right, got a lot riding on this
  243. > Proceeded by the head designers you enter into the conference room
  244. > And there she sits, Princess Mi Amore Cadenza, in the flesh
  245. > She sits at the head of a long oaken table with a slightly bored expression, likely waiting for the meeting to begin
  246. > Your entrance seems to have... livened... her mood slightly
  247. > She keeps her eyes locked onto to you as you take a seat nearest to the projector at the end of the table.
  248. > As the others finish seating themselves, her concentration is broken by Gimmick
  249. > "Thank you, Princess, for this opportunity. We sincerely hope these projects meet your expectations."
  250. > Cadence turns her head to reply
  251. > "Of course, Miss Gimmick. I have the utmost confidence in your team."
  252. > The meeting commences, various teams using the projector or easel to display their hard work
  253. > Cadance herself seems more bored than before
  254. > You would wonder why, if it wasn't for the fact that she begins to look at you when presenters change
  255. > Honestly you're a little disappointed
  256. > You're familiar with them, and despite how some of them go out of their way to flirt with you they do a good job
  257. > Especially the Mint one. And the music team by extension
  258. > Hell, you had no idea they even had radio, let alone Tele-
  259. > Your train of thoughts is derailed as you realize that you now need to present your cards
  260. > You stand, and almost fail to notice Cadance's pupils dilate as she takes notice of you stature
  261. "I hope you find these satisfactory, your highness."
  262. > You slide the case down the table and watch as it perfectly slides to a stop in front of her.
  263. > Oh yeah, that's Luck 10 alright.
  264. > You start in on an explanation for your take on certain designs, how certain elements were removed or changed based on what you thought would make these cards that much better.
  265. > She's only glanced at your work briefly
  266. > A quick look at each card is punctuated by her looking up and directly making eye contact
  267. "I figured the neutral background color would accentuate the other colors well, especially considering they're all lighter shades."
  268. "So, any thoughts?"
  269. > She rifles through the cards again and pulls out your Magnum Opus and levitates it infront of herself
  270. > She brings her eyes from it and directly onto yours
  271. > "Yes, I agree, its very well accentuated. Very *strong* looking. It says capable and independent, yet with a touch of elegance. All the things I seem to be looking for..."
  272. > The way she emphasized that...
  273. > You attempt to swallow some of your nervousness
  274. "*Ahem* Yes, well, I'm glad you approve your highness."
  275. > "But of course, something like this simply shouldn't be ignored."
  276. > She keeps her eyes trained on you as she says this.
  277. > Whatever she must have been thinking was once more interrupted by Gimmick
  278. > "And that's what we have to showcase, you highness."
  279. > Cadance retrains her focus onto Gimmick before speaking
  280. > "Well, Miss Gimmick, I find that the work of you and your employees is...very satisfactory."
  281. > She eyes you as she says that. Although, it's more of a quick glance as she refocuses on Gimmick
  282. > "And because of this, we shall continue our dealings. However, I will be periodically inspecting the work. Maybe a little one-on-one with the teams for...personal direction."
  283. > This time she doesn't bother to look, she simply smiles
  284. > Oh boy, here we go.
  285.  
  286. > She turns away from Gimmick and moves closer to you
  287. > You are now looking anywhere and everywhere but at her
  288. > She stops a few feet from you, before speaking
  289. > "Well, Mister Anonymous, your business cards were of excellent quality."
  290. > "However..."
  291. > She moves in to an uncomfortably close distance towards you before speaking in a slightly breathy voice.
  292. > "They could be improved slightly. I believe I shall be working with you first."
  293. > "It could last a long time, I do hope you're ready."
  294. > With that she takes her leave
  295.  
  296. > Jesus, fuck. Did it get hot in here?
  297. > No, wait, it's just you.
  298. > Red in the face, you undo you tie and open up your collar
  299. > In an attempt to distract yourself from that you look around the room
  300. > Many of your co-workers are elated to be working with the Princess of Love and discussing it
  301. > Some of the teams have already huddled to begin discussing any changes
  302. > As you scan around you notice one thing
  303. > One face that lacks any elation or business like resolve
  304. > It screams jealousy
  305. > You recognize her as the Mint-colored Mare from earlier
  306. > Given the notes you can't really blame her
  307. > Maybe you should do something nice
  308. > You try a smile and a wave, but she seems to be distracted
  309. > Huh, oh well.
  310. > You head out of the conference room and back to your cubicle
  311. > Withdrawing several design documents from your desk, you set to work tweaking some of the other designs
  312. > You take numerous design documents out now, working on cards for multiple clients
  313. > Pretty much at once
  314. > You needed this to keep your mind off of certain things
  315. > Your work keeps you fully engrossed
  316. > So much so, that you fail to notice the sound of hoof-falls approaching your cubicle
  317. > However, the sound of the voice stirs you
  318. > "Anonymous? It's the end of business hours."
  319. > "Heh, don't get me wrong, I appreciate productive employees but I haven't seen you do this before."
  320. > You wheel around with some surprise to see Gimmick standing before you.
  321. "Huh? Oh, right. About that. Yeah...I just...got involved ya know. Lost track of time. Artists and that."
  322. > Offering a cheesy grin, you take a relaxed looking pose
  323. > "Well, alright then. Don't work yourself to death, it'd be bad for our image."
  324. > She lets out a hearty chuckle and you respond in kind
  325. > "But in all seriousness though, the job for Cadance is getting tougher. You seem to have made the best impression on her, so I want you on your A-game for this, alright?"
  326. "<sigh> Sure thing, boss."
  327. > As Gimmick trots off she turns her head around to say over her shoulder
  328. > "If you're the last one out lock the door when you go, kay?"
  329. > Last one?
  330. > Huh, didn't really know anyone else was gonna be working late.
  331. > Regardless you turn back to the work on your table.
  332. > ...
  333. > You huff in frustration.
  334. > You just blew most of your mind today going into overdrive like that.
  335. > You should probably just go home.
  336. > Yeah, fuck it. Homeward bound.
  337. > You repack your briefcase and head back to your home.
  338. > Following a brisk walk you stop in front of your door
  339. > A pink envelope sits on your front step
  340. > An unmistakable wax seal adorns it
  341. > You pick the letter up and carry it with you inside
  342. > Popping open the wax seal you begin to read
  343. > "Dearest Anonymous,
  344. > I do hope this letter finds you well..."
  345. > It carries on about how she admires you
  346. > How she can't stop thinking about you
  347. > And now you're thinking
  348. > She's only just met you.
  349. > She's crazy about you.
  350. > And she knows where you live.
  351. > You give a long, defeated sigh.
  352. > Fuck it. Time to turn in.
  353. > You throw your clothes off haphazardly and flop down on your bed.
  354.  
  355. > *beep* *beep* *beep*
  356. > Your eyes flutter open to see the lights of your alarm clock before you
  357. > *beep* *beep* *beep*
  358. "Urgh...fuckin....thing."
  359. > You flail at it trying to end the noise quickly
  360. "Damn you....off..."
  361. > You get lucky and hit the button to disable its alarm
  362. > With a stretch and a dissapointed groan you haul yourself out of bed
  363. > Not like your sleep was that good, you just wanted it to be longer
  364. > You yawn and continue into your kitchen
  365. > Beginning your routine you prepare a pot of coffee
  366. > Now...breakfast.
  367. > You glance around your kitchen.
  368. > Your deliberation is ended by a yawn.
  369. > Yeah, fuck it. Cereal. Nothing complicated.
  370. > Listening to the gentle boil of water as your coffee is brewed, you grab a bowl and pour in some cereal.
  371. > Reaching into your refridgerator, you stop before you are able to grab the milk
  372. > You could've sworn you heard knocking
  373. > Ignoring it you grab the milk and begin to pour it into the bowl.
  374. > *thud* *thud* *thud*
  375. > This time you hear it.
  376. > Sounds like whoever it is is impatient.
  377. > Well, at this hour, they can go right ahead and get fucked.
  378. "If these are the pony equivalent of Jehova's witnesses..."
  379. > You grumble, and continue to do so until you reach the door.
  380. > The pounding gets a little louder
  381. "Yeah, yeah. I'm coming."
  382. > With that the knocking ceases.
  383. > Surpressing a yawn you open the door.
  384. > What's there, is a legitimate surprise.
  385. > Or more accurately what isn't.
  386. > No one.
  387. > Well. Shit.
  388. > You take a step out the doo-
  389. "FUCK!"
  390. > You take a quick step back bringing the bottom of your foot into view.
  391. > Small puncture wounds are found on close inspection.
  392. > No blood, thankfully. Mostly just uncomfortable.
  393. > Well, whatever was there, you found it.
  394. > Looking down you spy something that...worries you slightly.
  395. > It's a rose.
  396. > A single red rose.
  397. > Albeit with the thorns haphazardly removed.
  398. > What stuck you in the foot appears to be what was left of a thorn barely removed.
  399. > Ordinarily, this would be a nice jesture.
  400. > If not for the distinctly pink notecard attached to it.
  401. > You pick it up, bring it up to eye level and observe it curiously.
  402. > Your thoughts are interrupted once more; this time by curious neighbors.
  403. > You wave them off and apologize, then head back indoors
  404. > It's probably for the best to do it in here anyway.
  405. > Pouring a freshly brewed cup, you sit back down at your table to read and eat
  406. > You bring your eyes over it.
  407. > "Good morning sunshine, I hope to light up your day like you light up mine."
  408. > There's a stylized heart placed down at the end.
  409. > Still no name.
  410. > It doesn't need one. You know who this is from.
  411. > You let out an exasperated sigh
  412. > Quickly finishing up your breakfast you preform the three S's.
  413. > You don your suit. You should call in sick.
  414. > You straighten your tie. You want to call in sick.
  415. > You grip the doorknob and prepare to open it. You want to, but you can't.
  416. > You've got obligations.
  417. > You let out a quick breath and open the door.
  418. > You aren't ready to tackle the day, but you're ready enough.
  419.  
  420. > Promptly arriving at Gimmick's Marketing you take stock of the inside as you enter
  421. > Nothing looks out of place. Guess you locked up.
  422. > You give a small wave to Sweet Talk
  423. > She ordinarily greets you with a come-on, but it seems like she's handling an irate client presently
  424. > You make your way over your desk, lightly brushing off any of the usual pick-up lines.
  425. > Setting your briefcase down you notice something very much so out of place on your desk.
  426. > It's a cup of coffee.
  427. > Ordinarily, you get one once you get here.
  428. > But this one is...different to say the least.
  429. > You usually drink it black.
  430. > This one however, seemed like it had a light bit of creamer added. As well as a mint leaf garnish.
  431. > Curious, though thankful you lift the drink up
  432. > You inhale and your nose is graced by the scent of fresh mint leaf
  433. > You sip it slightly.
  434. > Has a slight sweetness with a minty after-taste
  435. > Not bad actually.
  436. > You set the drink down, intending to savor it.
  437. > Withdrawing various documents and sketches from your desk, you notice a note laying on it
  438. > You almost failed to see it
  439. > Picking it up you feel as though you can guess.
  440. > Regardless, you read it.
  441. > "Dear Anonymous,
  442. > Sorry I didn't give you a note the other day.
  443. > Have something to make up for it."
  444. > You see a heart drawn on the bottom.
  445. > You set the note inside your desk and begin to work
  446.  
  447. > And you would've continued working had it not been for
  448. > "Princess Cadance!"
  449. > Looking over your shoulder you spy one of interns bowing before Cadance
  450. > "Thank you, but that's not necessary. Go on about your business."
  451. > She dismisses the mare and makes her way over to your desk
  452. > "Hello again, cutey."
  453. > You take a sip of your mint-coffee before replying
  454. "Hey again, Princess."
  455. > "Please, call me Cadance."
  456. "Alright then, Cadance. Here's what I've got."
  457. > You display some of the re-works you've made since the meeting.
  458. > She eyes each one of them.
  459. > Not really closely mind.
  460. > "Well, these are wonderful. But, I was hoping you'd consider some other designs."
  461. > She procures some design documents from her saddle-bags.
  462. > That bitch.
  463. > You're secretly hoping she's trying to spend more time with you, rather than trashing your designs.
  464. > Not that one is better than the other, but still.
  465. > You grab the documents from her telekinetic aura with a peeved expression
  466. > You eye them all closely
  467. > As you do so, she tries to make conversation
  468. > "So, tell me, how does something as handsome as you end up in a place like this?"
  469. > Right, she's probably going to come-on to you rather hard here.
  470. "Easy. I filled out an application and they hired me."
  471. > She lets out a little chuckle.
  472. > "And with a sense of humor. How is it some mare hasn't come by and swept you away?"
  473. > You open your mouth to reply but are cut-off
  474. > "Not that I mind; it means I can have you for myself."
  475. > You look up from your documents
  476. > She has a pair of half-lidded eyes staring into directly into your deadpan ones.
  477. > Right, let her down gently, hopefully she gets the idea.
  478. "Look Cadance, I'm sure you're a lovely mare. But do I have to remind you that you're married?"
  479. > "Why would that matter? After all, he's nothing like you."
  480. > "Not something that I truly want, you know?"
  481. > Wow.
  482. > Fucking wow.
  483. > Right, just play it cool, bullshit her and go.
  484. "*ahem* Alright then. Now about these designs, I don't quite recommend them, but if you want I can create some samples and we'll see how they turn out alright."
  485. > She doesn't seem to have gotten the message
  486. > On the bright side, she is willing to change the subject.
  487. > "Of course, go ahead. Have them by next week."
  488. > With a sultry look she follows it up with
  489. > "I look forward to our next meeting.
  490. > She turns around to leave, but not before giving her ass a little shake on the way out.
  491. > Taking a swig of your coffee, you begin to start in on the new designs.
  492.  
  493. > You are Princess Cadenza Mi Amore, otherwise known as Cadance
  494. > And Anon just rejected your advances
  495. > You step on board your chariot and wait for the Pegasi guards to take flight
  496. > Despite this...set back, you still have hope
  497. > Something about that.
  498. > It's obvious, he was playing hard to get.
  499. > Most stallions would've swooned at your advances
  500. > But he's not most stallions
  501. > That's what draws you to him
  502. > You need to keep this up, otherwise he'll think you've given up
  503. > Yes, that's exactly what you need to do.
  504. > The guards take off and you're left to your thoughts
  505.  
  506. > You're Anonymous.
  507. > And you're on lunch break....
  508. > ...
  509. > Now.
  510. > Looking over to you small clock to confirm you organize your documents and stash them in your desk
  511. > With your workspace cleaned for now, you ponder what you should do for lunch
  512. > As you think, you're eyes find themselves looking at a now empty coffee cup
  513. > That's it.
  514. > You're certain you know who sent you that
  515. > Maybe you should treat her to lunch
  516. > With that idea in mind you get up and begin to search the office
  517. > Right, musicians are usually in the back of the office.
  518. > Making your way in that direction you recieve a few passes from some of the mares, nothing out of the ordinary really
  519. > You enter the back part of the office
  520. > It's really less of an office, more of a studio
  521. > Entering you see a number of cased instruments, a series of desks - not unlike the front, a recording booth and equipment
  522. > You also see a minty-mare, who apparently hasn't noticed your entrance
  523. > Her lyre is already cased, but she seems entranced by whatever it is she's doing
  524. > You tilt your head to get a better view
  525. > She appears to be writing a note
  526. > Well, no need to stalk to poor girl.
  527. "Uh, hey."
  528. > She seems startled, whipping her head around to face you
  529. > Her eyes go from startled to slightly embarrassed.
  530. > Her ears flatten against her head, and you spy a slight blush starting
  531. > You offer her a warm smile before speaking
  532. "I've got a guess that letter is for me, right?"
  533. > She gives off a sheepish smile before nodding.
  534. "Hey looks, there's no need to be so nervous around me."
  535. > She looks up to you and smiles
  536. > "O-okay."
  537. "There ya go. So, have you got a name?"
  538. > "I'm Lyra Heartstrings. B-but you can call me anything you want.."
  539. > She grins a little as she says this
  540. > You crack a wide smile in response
  541. > That's absolutely adorable
  542. "Ha, alright sweetheart. How does Lyra sound?"
  543. > She lights up at the word 'sweetheart'
  544. > Too strong, maybe?
  545. > "Yeah, that sounds great."
  546. > She seems to relax slightly
  547. > You grab one of the nearby chairs and sit down
  548. "So, Lyra, were you the one that left that coffee on my desk this morning?"
  549. > She gives a sheepish smile
  550. > "Yeah. W-what did you think?"
  551. "I think it was amazing. You wanna know what else I think?"
  552. > Though smiling, she seems to get a little nervous
  553. > "T-thanks, I hope I didn't put too much sug-"
  554. > You cut her off before she can continue
  555. "I think we should get lunch."
  556. > She stops completely, before looking you directly in the eyes
  557. > Her face is one of total bewilderment
  558. > "Wait, like you and me?"
  559. "Exactly. So, what do you say?"
  560. > Her face brightens instantly
  561. > "Yes!"
  562. > You can't help but smile
  563. > Her happiness is pretty much contagious
  564. > "I know the perfect place downtown! Come on, I'll show you!"
  565. > She merrily trots ahead of you, with a dopey looking smile on her face
  566. > Some of the other mares around the office seem to know whats up
  567. > A few looking on with jealousy
  568. > Others giving a silent cheer for their friend and co-worker
  569.  
  570. > You are Lyra Heartstrings
  571. > And you are currently on a da-
  572. > No.
  573. > Not a date...
  574. > Just lunch.
  575. > A mare can dream though.
  576. > You merrily trot through downtown Canterlot, Anon following off to your side
  577. > Right now you're so happy you can barely contain your smile
  578. > You'd been building up the nerve to ask him on something like this for SO long
  579. > Then he just...does this
  580. > It's unusual for the stallion to take the lead
  581. > But something about that was just...
  582. > Hot.
  583. > No! Bad pony!
  584. > What if he thinks badly of you because of thoughts like that?
  585. > Then he won't like you...
  586. > No. Can't think about that now.
  587. > Gotta stay in the moment.
  588. > Despite this inner monologue, you're mood never falters
  589. > Just walking with him is wonderful
  590. > A familiar smell wafts up your nostrils
  591. "We're here!"
  592. > Before you stands the one and only Neigh-borhood Bar & Grill
  593. > A truly Canterlot food joint if there ever was one.
  594. > You turn up to Anon to see his reaction
  595. > He silently nods his head
  596. > You squee a bit over his approval of your favorite restaurant
  597. > This'll impress him for sure
  598. > You walk up to the counter to place your order
  599. > You take your usual - a veggie burger with a side of hay-fries
  600. > You look to Anon, who has decided to order a carrotdog with works.
  601. > Knowing his order, you reach for your....saddlebags.
  602. > You forgot.
  603. > Damn.
  604. > Way to blow it Lyra.
  605. > You look like a cheapskate, and now you know he's gonna hate you for sure.
  606. > You look to your hooves and take a deep breath before looking up at Anon
  607. > "That'll be 30 bits total, sir."
  608. > "Alrighty then."
  609. > You just watch as he opens up his coin-purse and pays.
  610. > For the both of you.
  611. > Without even knowing you forgot your cash.
  612. > Honestly, you're a little stunned.
  613. > "Take a seat and we'll bring it out shortly."
  614. > You both move to take a seat
  615. > As you do so, you're about to pull a chair out for him
  616. > Even with magic, he beats you to it
  617. > Pulling out a chair for....
  618. > You.
  619. > You've never seen a stallion do that before
  620. > You turn a little red at the sheer amount he's doing for you today
  621. > With only a little hesitation, you seat yourself
  622. > Anon takes the seat across from you.
  623. > You merely look into his eyes.
  624. > Those gorgeous eyes of his.
  625. > He gives a slight smile
  626. > Oh, right. Forgot. You should probably start a conversation shouldn't you.
  627. "So..."
  628. > And you're at a loss for words.
  629.  
  630. > You are Anonymous
  631. > And you're currently at a local 'burger joint' with you 'secret' admirer
  632. > Honestly, you were treating her to this as a thank-you for the coffee
  633. > But she sorta took it in her own hands...hooves, whatever.
  634. > Which you really didn't mind. Nice enough place.
  635. > Although everything you thought you knew about etiquette seems...
  636. > Well, foreign to her
  637. > Every move you've made so far seems to have her a tad bewildered
  638. > Are you doing something wrong here?
  639. > Hopefully not.
  640. > You guess not, considering she seems to get red every time that happens
  641. > Hopefully she's just enjoying the attention
  642. > Speaking of attention, your mind stops wandering as you notice her staring into your eyes
  643. > You give a smile, to which she responds by saying
  644. > "So..."
  645. > You wait a few moments for her to carry it on, giving a smile for encouragement
  646. > ...
  647. > Yeah, you're gonna have to lead.
  648. > Right, keep it simple
  649. "So, how's work been?"
  650. > "Oh, you know. Worrisome. After all, the Princess is going to watch us perform."
  651. > "I mean, I know it's not a major performance, but I'm still a little nervous."
  652. > You give a soft chuckle and some reassurance
  653. > The both of you talk on and off about work, until your food arrives
  654. > As you enjoy your lunches you find that she's increasingly chatty
  655. > She must be getting comfortable around you.
  656. > You're still leading the conversation mind, but it's obvious she's relaxing
  657. > You both promptly finish your meals and head back to the office place
  658. > You continue to talk about nothing on the way back, just enjoying each others' company
  659. > She still seems shy, but at least she's opening up a bit.
  660. > Arriving back at the Gimmick's, you hold the door open for her
  661. > She gives a little blush and smile, muttering
  662. > "Heh, t-thanks."
  663. > "Before you head back, do you mind...uh, coming with me for a sec?"
  664. > Curiosity getting the better of you, you follow her back to the studio section
  665. > The musicians still seem to be out for lunch
  666. > "I just wanted to say thanks...for everything."
  667. > "The whole, holding doors, and chairs. And paying, for us. You didn't have to do that you know."
  668. > You offer her a smile
  669. "Hey, it's not problem. Really. Back where I'm from, guys like me are supposed to do that."
  670. > This seems to catch her off guard.
  671. > Come to think of it, you're surprised this never came up in conversation
  672. "If nothing else, just consider it a 'thank you' for the coffee."
  673. > Without thinking you reach down to quickly pet her
  674. > Her tongue lolled from her mouth a bit as you did this
  675. > In your surprise you remove your hand
  676. "Oh, heh, sorry."
  677. > You offer a warm smile
  678. > She simply looks a little disappointed from the loss of contact
  679. > "It's okay..."
  680. "Right, well, I should get back to work. Be seeing you."
  681. > "Yeah..."
  682. > You turn to leave, but are quickly stopped.
  683. > "Wait! Before you go..."
  684. > You turn back to face her
  685. > She motions for you to get closer
  686. > And she gives you a quick peck on the cheek
  687. > For once, you turn a little red
  688. > And she bolts back to her desk blushing wildly
  689. > You are now wearing a slightly goofy looking smile as you walk back to your desk
  690.  
  691. > You are Anon's minty-admirer, Lyra Heartstrings
  692. > And you just pulled the most daring move ever
  693. > Maybe you moved too quick
  694. > What if he doesn't like you because of that
  695. > Oh, that was so stupid!
  696. > Your mind races at a million miles a minute
  697. > Though you still can't help but feel pleased, you're still a little apprehensive
  698. > After all, you didn't get to gauge his reaction
  699. > You simply rushed off before you could do anything
  700. > You're gonna have to write him a note
  701. > Make up for the embarrassment somehow.
  702. > Yeah, that's what you're gonna do.
  703.  
  704. > With a large yawn, you pour yourself a cup of coffee
  705. > You are Anonymous, and you have just woken up
  706. > Taking a sip, you realize, you're in a strangely better mood today
  707. > Maybe it was just yesterday?
  708. > Probably. Got a kiss from an adorable mare, found a place that serves food you can eat
  709. > Yeah, not exactly a bad day
  710. > You pop a couple of bread slices into the toaster
  711. > Before you can do anything else for your breakfast you hear a few quick raps on your front door
  712. > Curious, you stride to it
  713. > A few more curt knocks on your door follow before you can open
  714. > With a mix of curiosity and apprehension - considering that your feet are still sore after that 'gift' Cadance left for you - you open the door
  715. > Before you stands a mailmare
  716. > You don't recognize her, or the uniform for that matter - definitely not government
  717. > "Package for 'Anonymous'."
  718. "Right here."
  719. > Signing the forms, the mare departs without any further words leaving you to your new box
  720. > Inspecting the outside reveals something you didn't really want to see
  721. > It's evidently from Cadance herself.
  722. > With a sigh of annoyance you fetch your toast, intent on eating something before having to deal with this
  723. > You scarf down your toast before getting set to open the box.
  724. "I swear, if she shipped herself here or something..."
  725. > You wonder how she even got your address in the fir-
  726. > Oh right. Princess.
  727. > Figures they wouldn't question something like that.
  728. > Right, onward and upward.
  729. > Taking a knife you cut the tape holding the flaps down.
  730. > You pull the flaps open and begin to inspect its contents
  731. > Another love note
  732. > Stacked on top of a small box of chocolate
  733. > And a bouquet of roses
  734. > Thorns actually removed this time
  735. "Fucking hell, she went all out."
  736. > You didn't intend to say that aloud
  737. > Seems your surprise has gotten the better of you.
  738. > With annoyed determination, you take the letter out of the box
  739. > Removing the same seal as last time reveals
  740. > "My dearest Anonymous,
  741. > I have found time to leave the Crystal Empire and temporarily oversee the entire project.
  742. > During which time I intend to stay in Canterlot for upwards of a week.
  743. > Maybe we can 'refine' some 'rough edges'"
  744. > It drones on a bit, laden with a lot of innuendo and overemphasis on certain words
  745. > Generally it's not overly different from the previous one
  746. > Save for the ending
  747. > She actually includes her name
  748. > Well, after the heart, but still.
  749. > Just how open is she going to be about this?
  750. > Either way, you simply toss the message back in the box.
  751. > Gotta get ready for work after all.
  752.  
  753. > After performing an abridged version of your morning routine you set out for the office
  754. > Despite Cadance's letter, nothing seems to be out of the ordinary
  755. > No Guards
  756. > No Chariot
  757. > Nothing of that sort
  758. > You finish your scan of the outside of the building before promptly shrugging to yourself and walking in
  759. > "Oh, good morning and good company. Hey, sugar."
  760. "Morning Sweets."
  761. > Strange
  762. > Usually she lays it on thicker
  763. > As you proceed down to your desk you begin to think
  764. > Usually so do the other mares
  765. > No slaps on the ass
  766. > Nothing but rather...light...flirting
  767. > For these mares anyway
  768. > Maybe Cadance is here
  769. > Hopefully she didn't do something obsessive and drastic
  770. > God, that's the last thing you need today.
  771. > Seating yourself at your desk you place your head in your palms and mentally prepare yourself for whatever is next
  772. > After a good couple of minutes you let out a huff and look up
  773. > What you see is a pleasant surprise
  774. > A cup of Lyra's coffee - fresh enough to let off steam carrying with it the scent of mint and, well, coffee - with a note laying underneath it
  775. > You take a whiff and smile a bit
  776. > Maybe today won't be that bad
  777. > You pick up the coffee and take the note out from under it
  778. > You unfold it and begin to read
  779. > "Anon,
  780. > I'm really sorry about yesterday. I know I shouldn't have been so forward.
  781. > I know you're not like the other males, but it was still out of line.
  782. > Please, please don't hate me.
  783. > - Lyra"
  784. > For once, she didn't end it with a heart
  785. > She's being a little hard on herself here
  786. > She really didn't do anything that out of line
  787. > You should probably go talk to her. Yeah, you should do that.
  788. > With this decision in mind, you swivel around to get up
  789. > However, you are halted as you spy a pink horn jutting out among the rows of cubicles
  790. > You feel as though you know who this is
  791. > Despite being slightly out of view, the voice confirms exactly who it is.
  792. > "Oh, Anon~"
  793. "Hey Cadance. So, do you need anything?"
  794. > You attempt to keep a calm and polite demeanor, but you can't help let some of the annoyance in your voice through
  795. > "Oh, I'm just checking in with my favorite contractor. After all, I know you're hard working and independent."
  796. > You simply cock an eyebrow in response
  797. > "Ooh, playing coy?"
  798. > At this point, you simply stay quiet and maintain eye contact
  799. > "Well, I just want you to know something..."
  800. > She places both her forehooves on your chest and looks into your eyes
  801. > "That's just how I like my stallions..."
  802. > "Hard and feisty."
  803. > "So, what do you say big boy?"
  804. > You give her an annoyed glare
  805. "Look, I've told you before, you're married-"
  806. > "He doesn't ignite the same flame in me as you do!"
  807. > She brings her lips towards yours at full force
  808. > While they make contact you immediately break it
  809. > Bringing your head a little further back you give a frustrated sigh
  810. "Look, just....give me some space. You know, to think things over. Alright?"
  811. > Though apprehensive Cadance slows takes her forehooves off your shoulders before giving a curt reply
  812. > "Fine."
  813. > Without bothering to reply, your feet begin to take you somewhere.
  814. > Anywhere, for that matter.
  815. > You find yourself heading down to the studio
  816. > You feel the eyes of your silent co-workers on your back
  817. > You know damn good and well that Cadance is among those stares
  818. > You need to find a way to show your disinterest in her
  819. > You continue to theorize a plan as you make your way down
  820. > However, you are stopped in your tracks by a familiar minty unicorn
  821. > Looking down at her she wears an expression somewhere between hurt, jealous, and utterly bewildered
  822. > She speaks first
  823. > "A-anon..."
  824. > Bending down to reach eye level with her, you find yourself cupping her cheek
  825. > She has a slight red tint to her face
  826. > "Did you really...?"
  827. "Kiss her? No."
  828. > You know everyone is still watching
  829. > You don't really care
  830. > You can almost feel the envy of Cadance from where you stand
  831. > "T-then what was-"
  832. "I broke it off."
  833. > You know exactly how to get Cadance off your back
  834. > Your eyes lock with Lyra's
  835. "After all, you deserve it more."
  836. > You follow that by plunging into a deep kiss
  837. > You feel her face glow with warmth
  838. > After a brief few seconds of hesitation, she places one of her forelegs onto your shoulder
  839. > You respond by putting a hand on the square of her back and bringing her in closer
  840. > She takes this as a sign and now has both her forelegs wrapped around your neck
  841. > You break the kiss and take a breath of air
  842. > Opening your eyes, you see Lyra - still holding onto you, smiling and blushing furiously
  843. > You can't blame her, your face feels red as well
  844. > You see a number of your co-workers looking on - mixtures of smiles and astonishment
  845. > Your focus immediately switches back to Lyra as she goes in for another impassioned kiss
  846. > This time you simply sit back and savor the moment.
  847.  
  848. > You are the Princess of Love, commonly referred to as Cadance
  849. > And you cannot believe what you've just witnessed
  850. > Not only has Anonymous rejected your affection...
  851. > He openly share his affection for some....
  852. > Some...
  853. > Some trampy peon!
  854. > What did she have that you didn't?
  855. > Why did he reject you?
  856. > Are you not good enough for him?
  857. > They're still embraced in the hallway
  858. > You should leave before you explode
  859. > In a huff you storm off, not caring where your hooves take you
  860. > Blinded by your anger you find yourself sitting in a bathroom stall
  861. > You grit your teeth as water finds itself running down your face
  862. > You squint your eyes to try and control it
  863. > Think Cadance, THINK!
  864. > You take a deep breath and try to calm down
  865. > ...
  866. > After a few careful breaths you've found that you're now stable
  867. > Regardless, you continue to breathe deeply
  868. > You might be able to save this
  869. > You have to find a way to save this.
  870. > You NEED to find a way to save this
  871. > You can't let something like this slip by
  872. > Exiting the office you walk towards your hotel room
  873. > Slowing down your trot you use this time to think of a plan
  874.  
  875. > You are Lyra's lover, the one and only Anonymous
  876. > Ever since this morning, you've been in a far better mood
  877. > And from look of Lyra she is too
  878. > Bar your new relationship, the day has proceeded without incident
  879. > Cadance left early, lunch was only made interesting by your favorite mare, and work actually got done.
  880. > Packing an assortment of documents and sketches into your briefcase you prepare to end the day
  881. > Walking out of the office, you are joined by Lyra
  882. > Curiously enough, she receives a mix of jealous glares, hoof-bumps, and the occasional 'atta-girl' on the way out
  883. > Sometimes you really wonder about these ponies
  884. > The both of you stand outside the office
  885. > Various ponies are milling about
  886. > Several are hurrying home from work
  887. > The two of you, are standing there staring at each other
  888. > She seems like she has something to say, but she paws at the ground nervously
  889. > You feel the need to start the conversation
  890. "So..."
  891. "Should I walk you home?"
  892. > "...S-should I walk you home?"
  893. > You both ask the same question in unison
  894. > She blushes a little and you - caught off guard - cock your eyebrow
  895. > You open your mouth slightly to speak, but you realize something
  896. > You don't really know how to react to that question
  897. > Lyra gives you a sheepish smile
  898. > "U-usually, the mare walks the stallion home. A-although, I wouldn't mind if you came home with me of course..."
  899. > You give her a grin
  900. "Is that a come-on?"
  901. > Her blush deepens a little
  902. > "Huh? O-oh...well, I do like you and maybe I do-"
  903. "Heh, relax, I was only joking around."
  904. > You place your hand on her head and start to scratch her ears a little
  905. > She visibly relaxes and moves towards your hand more
  906. "So, tell you what. How about, I walk you home tonight. I'll tell you a little more about human culture, you tell me more about pony culture."
  907. "Sound good?"
  908. > At this you stop petting to look into her eyes
  909. > The loss of contact disappoints her a little, her eyes sparkle as she replies
  910. > "Of course!"
  911. > You give her a big smile and start to walk forwards
  912. > You promptly stop, realizing you have no idea where you're going.
  913. > Lyra giggles a bit at this
  914. > It's an adorable and melodic sort of giggle, one you can't help but smile at
  915. > You get closer in order to follow her
  916. > She leans in a little closer to your leg
  917. > The two of you continue off down to her apartment
  918. > You telling stories of your world and certain elements of its culture
  919. > Her doing pretty much the same, only while brushed up against your leg
  920. > Not that you mind of course.
  921. > You arrive at her apartment
  922. > Oddly enough only a few blocks down from your home
  923. > The two of you stand in front of her door
  924. > Just staring into each other's eyes
  925. > She has a contented look about her - like everything is right with the world
  926. > "S-so, thanks for taking me home..."
  927. "Of course."
  928. "So, is this the bit where I'm suppose-"
  929. > You were about to crack a joke about begging for a kiss
  930. > Seems she had something similar in mind
  931. > Only she wasn't going to beg
  932. > She stands on her hind legs and pulls your head down with her fore hooves
  933. > It catches you off guard, but its not like you mind
  934. > While not as impassioned as earlier, it still certainly has a high level of energy and affection behind it
  935. > As she pulls out of the lip-lock you speak
  936. "And thanks for the reward."
  937. > You give her a cheeky smile
  938. > You follow this up by bending down and embracing her
  939. > She remains on her hind legs, only now bringing more of her weight on you
  940. > Laying her head across your shoulders, you swear she's breathing in your scent
  941. > The embrace ends and she mutters a few more thank you's and a few sweet things before trotting inside
  942. > As she shuts the door, you walk home with a smile on your face and without a care in mind.
  943. > Today was a good day.
  944.  
  945. > Hell hath no wrath like a Princess spurned
  946. > And it hath no wrath like a Princess unable to find methods of revenge
  947. > You are Cadance - and you are currently muzzle deep in another of Starswirl's textbooks
  948. > You've extended your 'vacation' to Canterlot an extra week in order to further your research
  949. > You've been practically locked in this library for a few days since you were so hastily turned down
  950. > Unfortunately, you've read most of these cover to cover
  951. > At least the ones related to the subject at hand
  952. > You even tried to dig at some things vaguely related to find an answer
  953. > None of these have so far proved a fruitful effort
  954. > Not even the books you wrote specifically on the subject of love
  955. > Nothing to split a bond
  956. > Nothing at all.
  957. > In your anger, you send an over-charge of magic through your horn causing the book you were reading to close with a loud 'THUD!'
  958. > You surge your magic through the myriad of texts in front of you and fling them to the side
  959. > You bring your forehooves on the table and almost slam your face into them
  960. > You haven't found a damn thing
  961. > All this searching...fruitless.
  962. > You breathe deep.
  963. > And in your mental exercise, you find a moment of clarity
  964. > You NEED a change of scenery
  965. > That helps clear the mind
  966. > A clear mind, a better search right?
  967. > You let out a little huff of air and try and perk up a bit
  968. > Lifting your head from your hooves, you feel a slight rumble in your gut
  969. > You could also use food.
  970. > With this new plan in mind, you use your magic to organize the now disarrayed books back on the table
  971. > Brushing your coat and mane a bit you walk out of the library and into downtown Canterlot
  972. > As you make your way down to one of your usual restaurants - a Prench styled restaurant with an open-air section - several ponies bow as you pass
  973. > You simply wave them on their way
  974. > You don't bother offering a reply to any greetings, your mind is still preoccupied
  975. > On your arrival you go through the usual motions - ponies bow, you gracefully tell them there is no need, they say it's out of respect, you thank them.
  976. > It's really more tedious than it needs to be, you feel.
  977. > Taking your seat in the open air you await your order
  978. > Which you didn't really place one - you simply told them to surprise you
  979. > After all, you don't feel like thinking something this...basic over.
  980. > It's not that important. Just satisfying a need.
  981. > You begin to ponder and space out
  982. > You know what you need.
  983. > You just don't know how to get it.
  984. > Simply sitting there and staring into space for a solid ten minutes - had you been counting - your ears twitch slightly
  985. > Is that...music?
  986. > Taken out of your trance you look around for the source of such a beautiful tune
  987. > On the other side of the restaurant is...a mare...
  988. > She's strumming...some sort of instrument. You can't really make it out clearly from this angle.
  989. > Much like the other patrons you crane your neck to see what's going on
  990. > You still can't see the instrument
  991. > But you can see its intended audience
  992. > Its a stallion she seems to be playing for specifically
  993. > Must be some sort of home-made tune, as you can't really identify the lyrics
  994. > You sit and watch for a bit
  995. > As she finishes the stallion seems to swoon over her performance
  996. > You turn your attention back to your still empty table.
  997. > You still need to keep thinking.
  998. > You still need a plan.
  999. > Honestly what else could you...
  1000. > You snap around to get a look at the performer and her lover
  1001. > They're sharing a passionate embrace
  1002. > You'd also assume a lot of sweet words as well
  1003. > That's it!
  1004. > It's so cheesy, but it might work.
  1005. > You get up from your table and place a few bits as a 'thank you'
  1006. > Without any other graces you're almost heading full tilt back to the archives
  1007. > Thanks to Twily, there are a ton of books on Anonymous and his culture
  1008. > Now you just need to find a love song.
  1009.  
  1010. > "A-anon...p-put me down..."
  1011. "No."
  1012. > "Please? Ponies are staring..."
  1013. > You look down at the mare in your arms and give her a knowing smile
  1014. > She gives her nose a scrunch and looks away, with a blush well defined on her face
  1015. > You have to admit she looks cute with her forehooves folded like that on her chest
  1016. > Keeping your smile you look up to see
  1017. "Relax, we're here already."
  1018. > You walk up to the door of her apartment and gently set her down
  1019. > As her blush fades a little, she looks up at you
  1020. > "T-thanks again, you really didn't have to carry me..."
  1021. "Hey, it's no problem. Besides, you didn't seem to mind."
  1022. > Her nose seems to scrunch a bit again
  1023. > Rolling your eyes, you kneel down and pull her into a hug
  1024. > She returns it warmly before breaking away with a smile on her face
  1025. > She gives you a light peck before moving to head inside
  1026. > As you stand up you feel her tail swat you on the ass
  1027. > You turn around with a slightly surprised look on your face
  1028. > She simply shoots you a grin
  1029. > "For earlier."
  1030. > With a sly smirk, she closes the door and you turn to leave
  1031. > You take your time on the way back
  1032. > You close your eyes just to feel the evening sun on your face
  1033. > And it feels damn good
  1034. > This whole week has
  1035. > Lyra is opening up a bit more
  1036. > And the job for Cadance is almost done
  1037. > Speaking of - you haven't seen her around in...
  1038. > ...
  1039. > Fuck, at least a week or so.
  1040. > Ah, to hell with it. She's probably fine.
  1041. > At least she's off your back
  1042. > And it landed you with a gorgeous little mare.
  1043. > You smile and breathe a sigh of satisfaction
  1044. > Following that you space-out on the way back, merely smiling
  1045. > Arriving back at your small house, you wave at your neighbors - who seem to have caught your apparently infectious good mood
  1046. > You whistle a small tune as you unlock your door
  1047. > Isn't really necessary considering where you're at, but the keys just remind you of home
  1048. > Re-locking your door you, you toss your keys onto the small table in the foyer
  1049. > You remove your coat and loosen your tie
  1050. > Following your small mantra you set a pot of water on the stove
  1051. > Still whistling you bring out a few ingredients
  1052. > Herbs. Check.
  1053. > Potatoes. Check.
  1054. > Carrots. Check.
  1055. > You rattle off your mental checklist for a small soup
  1056. > There is one thing that's currently bugging you, but you can't place what it is...
  1057. > As the water heats up, you search through your cupboards - having already searched through the pantry
  1058. "Shit, where is it!"
  1059. > Alright, this is really starting to frustrate you.
  1060. > Clink.
  1061. > You pause in your search.
  1062. "The fuck was that?"
  1063. > You glance over to your pot.
  1064. > No. It's not boiling.
  1065. > Hell, you didn't even have a cover over the thing.
  1066. > You look around some more in confusion.
  1067. > Thunk.
  1068. > Something must've hit the window.
  1069. > You move to investigate
  1070. > The sound intensifies as you reach the front of your house.
  1071. > You hear another thud, only this time from the upstairs
  1072. > Without much thought, you rush up to search around more
  1073. > You open your bedroom door in time to watch a medium size rock smash through you bedroom window.
  1074. "What the fuck!"
  1075. > Your exclamation appears to have alerted whoever threw that as you hear a voice shouting, what must be your name.
  1076. > With a combination of anger and curiosity plastered on your face you make your way towards what was your window
  1077. > Looking outside, you notice a rather beautiful sunset
  1078. > Nothing too unplea-
  1079. > "ANONYMOUS!"
  1080. > Nevermind.
  1081. > From the sound of that voice, you wager you knew who threw that.
  1082. > "Anon! Down here!"
  1083. > Begrudgingly you look down.
  1084. > What you see both annoys and interests you
  1085. > It's Cadance.
  1086. > With a Guitar. And sound equipment.
  1087. > Rather complex sound equipment.
  1088. > From both the picturesque sky and the equipment, you must've burned a lot of time.
  1089. > Fuck, how long were you looking for that broth.
  1090. > FUCK! That's what it was.
  1091. > "Anon, I think I found something you might like that should get my message across."
  1092. > You simply cock an eyebrow in preparation.
  1093. > She starts to play:
  1094. https://www.youtube.com/watch?v=VUodwTf8JJw
  1095.  
  1096. > As she plays the last few notes, you lean against the window-frame
  1097. > Honestly, you're impressed
  1098. > A perfect rendition and a nice reminder of home
  1099. > You love music, and for once, you'd appreciate this advance
  1100. > Appreciate, but not reciprocate
  1101. > As like all of her prior advances, have always been a little...over the top, to say the least
  1102. > Speaking of...
  1103. > You inspect the damage to the window
  1104. > Completely shattered.
  1105. > Well, you at least know your response.
  1106. "So, you gonna fix the window or what?"
  1107. > You focus on her now
  1108. > The broad smile she was wearing shifts to a look of confusion as she takes the information in
  1109. > "Wait, what?"
  1110. "The window. The one you knocked out to get my attention."
  1111. > "Oh! That! It was...an a-accident. I swear!"
  1112. > The only response you give is an annoyed huff.
  1113. "Look if you're gonna be like that then allow me to give you a formal response."
  1114. > This time she cocks an eyebrow, clearly perplexed.
  1115. > Unlocking the window pane, you raise it up
  1116. > With theatrics in mind, you lean out the window.
  1117. "HOW 'BOUT NO!"
  1118. > With that said, you duck back in and slam the window shut
  1119. "Ah, fuck..."
  1120. > As you do so, a shower of glass shards rain down on your feet
  1121. > That window is almost nonexistent at this point.
  1122. > Well.
  1123. > Shit.
  1124. > Time to get the broom.
  1125. > With an obviously displeased grumble you make your way downstairs to find your broom.
  1126.  
  1127. > Reaching your utilities closet you hear a banging at your door
  1128. > With a sigh you march over to the door
  1129. > Opening it up, you see none other than Cadance
  1130. > Several of the hairs in her mane are out of place - almost frazzled looking
  1131. > She appears to be trying to keep her composure
  1132. > What exactly she's holding back, you can't really tell
  1133. > So, you simply lean up against the door frame and remain silent
  1134. > "Anonymous... There you are..."
  1135. > "I just wanted to say-"
  1136. "Look, if it's about the singing - I don't have too many reminders of home, so I appreciate that much. I really do."
  1137. "Thing is though, I don't appreciate the advances you're trying to make."
  1138. > She seems to clam up at this
  1139. > Her eyes have a little extra water in them - she's really trying to keep her composure
  1140. "Look at it like this - every gift you've given, has backfired to some extent."
  1141. "Some have caused some minor injuries, but for the most part, they've all been annoying and a slight inconvenience."
  1142. > Her head droops a bit as you say this
  1143. > You breathe out a quick sigh.
  1144. "Take this effort, for instance. You didn't have to break my fucking window."
  1145. > She remains both silent and motionless.
  1146. > You shake your head
  1147. "Now, if you'll excuse me - I've got some broken glass to clean up."
  1148. > Closing the door you let out another, much louder, sigh
  1149. > Fuck, you didn't want to be such an asshole about this
  1150. > You really didn't, but she couldn't take the fucking hint.
  1151. > Trying not to think too much about this, you grab your broom and march back upstairs.
  1152.  
  1153. > The door closes in your face
  1154. > He walked off
  1155. > You couldn't form any words right now if you tried.
  1156. > You are Cadenza Mi Amore, Princess now loveless
  1157. > Your somber expression remains fixed on your face
  1158. > Your eyes sting
  1159. > You don't know why.
  1160. > Quite frankly, you don't care either
  1161. > Your muzzle is wet
  1162. > You can feel a somewhat steady drip of water off it
  1163. > The only thing of interest right now is your hooves; not even your thoughts can break your gaze
  1164. > With a heavy sigh, you close your eyes
  1165. > As you open them, you're struck with a certain revelation
  1166. > Your muzzle is now drier than earlier
  1167. > It's no longer dripping - though your eyes still sting
  1168. > Lifting your head up, the lights in Anon's house are currently out
  1169. > And your shadow is silhouetted across his door by moonlight
  1170. > Just how long were you standing here?
  1171. > Honestly, you don't know.
  1172. > You just don't know anymore
  1173. > You turn around and begin a slow walk to the castle
  1174. > There is one thing you do know.
  1175. > You need payback.
  1176. > You aren't going to let something...someone like this go that easily
  1177.  
  1178. > The journey back was somber at best
  1179. > Your mind was restless at this point
  1180. > A pair of guards salute you as you enter the castle
  1181. > You continue to your chambers, allowing stray thoughts to enter
  1182. > What does she have that you don't?
  1183. > Why me?
  1184. > Why not me...
  1185. > You halt your march in front of the doors to your temporary chambers
  1186. > You send a pulse of magic through your horn and latch onto the doors
  1187. > You throw them open
  1188. > ...
  1189. > One of your many thoughts forces its way to the forefront of your mind:
  1190. > You could just force them apart.
  1191. > Shaking your head, you snap back to reality.
  1192. > Entering your chambers you shut the door behind you and flop onto your queen sized bed.
  1193. > No...You can't.
  1194. > It doesn't work like that.
  1195. > You're the princess of love.
  1196. > You can fix it. You can find it for them again.
  1197. > But you can't break it if there truly is love.
  1198. > You close your eyes and take a deep breath.
  1199. > But, if there isn't...
  1200. > Come to think of it, it would be easier if one of them were vulnerable
  1201. > Maybe he's dependent on her somehow.
  1202. > That's it!
  1203. > Let's see how well he treats her when he learns she has nothing to offer him.
  1204. > You feel a devilish grin forming on your face.
  1205. > You know what's on the agenda tomorrow.
  1206. > Rolling over, you find that sleep comes rather easy to you with this idea.
  1207.  
  1208. > Sitting at your desk, you stare blankly at a handful of design documents and sheets of card stock
  1209. > You take a sip of coffee to try and wake yourself up
  1210. > You are Anonymous - and with a hole where your window used to be, you clearly did not sleep well last night.
  1211. > Right. Well, Cadance hasn't left a gift on your doorstep this morning.
  1212. > Maybe it won't be such a bad day.
  1213. > You take another sip of coffee and lean over your desk
  1214. > Alright, just have to-
  1215. > Wait, did you just hear a sniffle?
  1216. > Could just be an auditory hallucination. If that's the case, you should really get that window-
  1217. > No. Couldn't be. You just heard it again.
  1218. > This time, it's louder than before.
  1219. > Closer almost.
  1220. > You poke your head out from your cubicle.
  1221. > What you see causes both confusion and a touch of heartbreak
  1222. > Lyra is slowly making her way back to the studio end of the office
  1223. > Her eyes seem... wetter than they should be
  1224. > She keeps her composure
  1225. > Then she sees you
  1226. > She gives you an obviously forced smile
  1227. > "H-hey! Anon..."
  1228. > Something's up.
  1229. "Lyra? What's wrong hon?"
  1230. > She seems to panic just a touch.
  1231. > "Uh, nothing! Yeah...n-nothing's wrong..."
  1232. > You cock an eyebrow.
  1233. > "N-no! Really! I...I'm fine. I swear..."
  1234. "It's okay, you can tell me anything."
  1235. > She seems to fidget in place a little.
  1236. > "...Anon...."
  1237. > "...No, forget it. I-I'm sorry Anon! I- I just can't...."
  1238. > A single tear drop rolls down her muzzle
  1239. > She begins to try and speak again
  1240. > "...S-so...s-sorry..."
  1241. > Her words start to become incoherent
  1242. > More tears start flowing.
  1243. > You've got to do something.
  1244. > You reach down to her.
  1245. "Lyra-"
  1246. > Before you can move more than a foot towards her, she bolts down to the studio
  1247. > You attempt to run after her.
  1248. > No matter how fast you urge your legs to carry you, it just isn't fast enough
  1249. > Gritting your teeth you sprint a little harder
  1250. > This proves to be a futile effort as she magically slams the studio door behind her
  1251. > Panting and out of breath, you lean on the door
  1252. ".*huff*...Lyra..."
  1253. "P.*pant*..please, babe..*huff*..just talk to me..."
  1254.  
  1255. > You put your back to the door
  1256. > Your shoulders are slumped
  1257. > Tears freely flow down your muzzle
  1258. > You are Lyra Heartstrings
  1259. > And you are trying-
  1260. > Correction. Tried. To be strong.
  1261. > For Anon.
  1262. > But you couldn't.
  1263. > You can't keep it together.
  1264. > You've just lost your job - and you almost know that you'll lose him next.
  1265. > You sniffle a little. Despite practically breaking down, you're managing to keep some amount of composure
  1266. > You can hear his labored breathing on the other side of the door
  1267. > "*huff*....Lyra..."
  1268. > "*pant*...P-please babe...*huff*...just talk to me..."
  1269. > The tears flow down your muzzle harder
  1270. > Your vision is becoming thoroughly obscured now
  1271. > Choking back some of your tears you reply
  1272. > It's not going to be pretty, but he has to know.
  1273. "A-anon....*sniffle*"
  1274. "I-I-I...I-m sorry...."
  1275. > With a heavy sniff, you open your mouth to speak - but you're cut off
  1276. > "*huff*...for what babe?"
  1277. > You hear a deep inhale
  1278. > You're lost. You've got no job, no words, potentially no Anon.
  1279. > After a five minute pause, you hear him speak up again
  1280. > "Babe...whatever it is, it's okay."
  1281. > The tears have slowed
  1282. > Your muzzle is still damp
  1283. > You can barely fight the urge back to respond. But you manage - for him.
  1284. "W-why....?"
  1285. > "Because..."
  1286. > "I love you."
  1287. > Your face noticeably tightens. Your vision becomes more obscured.
  1288. > The tears have started again.
  1289. > Only harder.
  1290. > You can't stop it.
  1291. > Just those three words...
  1292. > You turn onto your side and put your hoof onto the door.
  1293. > You can barely speak right now.
  1294. > The most you're able to do is mutter almost incoherently and in a soft voice
  1295. > The one thing you manage to make out
  1296. "....I-I.*sob*..I l-love...you...too..."
  1297.  
  1298. > You're now laying across the width of the door
  1299. > Your hand is resting on the door's surface
  1300. "Because..."
  1301. "I love you."
  1302. > You've said it. You shared it. Hopefully she reciprocates it.
  1303. > You are Anonymous, lover of Lyra and Lyra's love.
  1304. > Resting your head against the door, you can only hear a bit of incoherent muttering and sobs.
  1305. > With a sigh you make one final statement
  1306. "Lyra...please, I need you to talk to me. If it would help, come by my house later. We can talk there."
  1307. > ...
  1308. "Okay?"
  1309. > Between the sobs, you do make out a shaky "Okay..." from the other side
  1310. > Hopefully she shows up. You're praying she shows up.
  1311. > Walking back to your desk, you shoulders have slumped slightly
  1312. > Your head has a noticeable downward tilt to it.
  1313. > Everything feels...pointless...
  1314. > The only thought on your mind is how to help out your Lyra
  1315. > Reaching your desk, you simply take your documents and put them in your desk
  1316. > Unlikely someone would steal designs for a business card.
  1317. > You reach for your coffee and take a sip
  1318. > Your face contorts into a grimace.
  1319. > Shits cold.
  1320. > You swallow the bitter substance anyway.
  1321. > With your documents secured, you take the cup back to the break room and make your way to Gimmick's office.
  1322. > Standing outside, you knock twice on the door
  1323. > "Come in!"
  1324. > You just poke your head in.
  1325. "Hey boss, I don't really feel too well. I'm taking the rest of the day off."
  1326. > She simply gives you a nod.
  1327. > Well, that's confirmation enough for you.
  1328. > With slightly lethargic steps, you walk out of the office and slowly trudge home.
  1329.  
  1330. > Closing the door behind you, you make your way to the bathroom, undoing your tie in the process.
  1331. > Passing your living room you throw both your overcoat and tie onto the couch
  1332. > Heading up the stairs and into your bathroom, you splash some water on your face
  1333. > You still don't feel any better.
  1334. > Water still dripping off your face, you clutch the sides of the sink and stare into the mirror
  1335. > Worry appears to be plastered on it
  1336. > You really hope she's okay.
  1337. > After drying off your face, you find yourself pacing around in your living room
  1338. > You can't think of anything else but Lyra.
  1339. > What's worse, you can't think of a way to fix it.
  1340. > To be fair, you're not even certain what's wrong.
  1341. > God, you hope you can fix this.
  1342. > Your worried pacing persists for an almost indeterminate amount of time.
  1343. > Lost in your own thoughts, you never noticed that you sat down on your couch
  1344. > Hearing a knock on your door stirs you from your trance-like state
  1345. > Another knock takes you back to reality
  1346. > A third causes you to bolt to the door
  1347. > Practically flinging the door open you don't know whether to continue to be worried, or to be relieved.
  1348. > What stands before you....
  1349. > ...
  1350. > Could only really be described as a husk...
  1351. > It's Lyra, but without her usual energy
  1352. > She seems...sad...
  1353. > Her head is angled down
  1354. > Her eyes are slightly bloodshot
  1355. > You kneel down to her eye level
  1356. > Cupping her muzzle in your hand you bring her head up and plant a quick kiss on her lips
  1357. > You move slightly closer and wrap her in a hug
  1358. > Pressing your head against her neck, you speak
  1359. "Dear God, Lyra..."
  1360. > "I-I'm sorry..."
  1361. "Shush. There is absolutely nothing you need to be sorry about. I'm just glad you're here now."
  1362. > Ending the embrace you place a hand on her withers and usher her inside your home
  1363. > She doesn't object, if anything...
  1364. > ...It just seems to make her head hang a little lower...
  1365. > With a soft sigh you lead her into your living room and the two of you plop onto the couch.
  1366. > She simply sits there and stares at her hooves
  1367. > You can't take seeing her like this
  1368. > You reach over and pull her into your chest
  1369. "Lyra...I need you to talk to me, okay?"
  1370. > She rubs her head against your chest in a manner that appears to be a nod.
  1371. "Then I need you to tell me what's wrong, love."
  1372. > Bringing her head up to look you in the eyes, she runs a forehoof across her muzzle
  1373. > With a light sniffle she speaks
  1374. > "T-they....they fired me..."
  1375. "Wait, you mean Gimmick fired you?"
  1376. > Another forlorn nod.
  1377. > You knew what unemployment felt like
  1378. > But damn, she was taking this hard.
  1379. > In an effort to comfort her, you begin to softly stroke her mane
  1380. > She still seems down, but slightly more relaxed
  1381. "I'm sorry love..."
  1382. > With a quick glance up and a sniffle, she cuts you off
  1383. > "N-no....d-don't be..s-sorry.."
  1384. > You cock an eyebrow at her
  1385. > "I-I should be..."
  1386. > "I-I...I'm letting y-you down..."
  1387. > Bringing your hand from her mane to her muzzle again, you tilt her head up to look at you
  1388. "You're not letting me down."
  1389. > "B-but, I am..."
  1390. > "*sniff* The m-mare is supposed to support h-her stallion..."
  1391. > "A-and all I'm doing...is.*sob*..is sitting here...c-crying..."
  1392. > As she tilts her head down again, you lean into her and pull her into a loving embrace
  1393. > With her head snugly against your chest, you begin to stroke her mane
  1394. "It's alright love."
  1395. > With all the tenderness you can muster, you continue to stroke her mane and whisper reassurances
  1396. > Despite this, she continues to sniffle for a few more minutes before calming down.
  1397. > "...A-anon..."
  1398. "Yeah?"
  1399. > "...W-what am I-I going to do..."
  1400. "I already told you babe, don't worry about me."
  1401. > "I k-know...b-but...what about me?"
  1402. > "I-I d-don't know how I'm g-gonna pay the rent..."
  1403. > "...or f-for food..."
  1404. > Her breathing starts to get destabilize again
  1405. > "...W-who am I kidding...if I can't s-support myself, then-"
  1406. > Nope. You're not having her go down that road again.
  1407. "Lyra. Hon. Calm down. It'll be okay."
  1408. > You sit up a little straighter, causing her to stir a bit
  1409. > Taking this opportunity, you cup her muzzle again and bring her in for a quick peck
  1410. > You lock your eyes with her's
  1411. "Move in with me. I can take care of you."
  1412. > Her pupils dilate - her eyes radiating a combination of surprise and excitement
  1413. > "R-really? Y-you mean you d-don't mind? It's n-not often that a stall-"
  1414. > With another quick peck on the lips, you reply
  1415. "No. I don't mind."
  1416. > Her mouth gapes a little.
  1417. > Yours curls into a warm smile
  1418. > This smile shifts to surprise as Lyra throws her forehooves around your neck, peppering you with light kisses
  1419. > "Thankyouthankyouthankyou-"
  1420. > Bringing her into a tighter embrace and a more passionate kiss, you cut her off
  1421. "Hey, don't worry about it. Besides, this kinda thing is normal where I come from."
  1422.  
  1423. > Nothing makes your day more than seeing your Lyra smile
  1424. > And today, her smile is more infectious than ever
  1425. > Since you decided to let her move in, she's been happier than ever
  1426. > And no matter how heavy these boxes get, you're still smiling
  1427. > Although, they really are heavy.
  1428. "...Lyra...babe...what's even in..."
  1429. > Fuck it, you're gonna set these down
  1430. "*huff*...what's even in these things?"
  1431. > She pokes her head around the doorway to her bedroom
  1432. > "Music sheets."
  1433. > You notice a thought cross her mind. Her smile goes from warm to a devious grin.
  1434. > "And here I thought you were a strong stallion, able to take care of himself AND his mare..."
  1435. > "Surely boxes full of paper shouldn't be an issue..."
  1436. > You purse your lips for a bit
  1437. > Evidently, your expression must be amusing because she starts to crack
  1438. > Then outright giggle
  1439. > It's adorable. You can't help but smile a little.
  1440. > But you can't let it go that easily.
  1441. > You stick your tongue out and proceed to blow a raspberry in her direction
  1442. > "Love you!"
  1443. > She giggles one last time before ducking back into her bedroom to continue packing her things
  1444. "Love you too."
  1445. > With a grunt, you lift the boxes off the floor
  1446. > Heading down a few flights of stairs, you place the boxes in a cart you rented and make your way back up
  1447.  
  1448. > After making a couple of trips, you return to the cart
  1449. > Placing a travel bag in the cart, you step back and examine it
  1450. > Wow. Surprisingly a lighter load than you thought.
  1451. > Well, in terms of amount, anyway.
  1452. > Fuck that sheet music is heavy, though.
  1453. > With a quick exhale you watch a lyre, sheathed in magic, find its resting place in the cart
  1454. > The last time a chick moved in with you, there was way more than this
  1455. > ...
  1456. > Hold it.
  1457. > Hol- fuck it, you gotta ask.
  1458. "This everything?"
  1459. > She looks up at you, beaming.
  1460. > "Yep!"
  1461. > Well, guess it really was.
  1462. > You position yourself to pull the cart
  1463. > She appears to have stopped part of the way from doing it herself.
  1464. > "Oh...uh..."
  1465. "Relax, I'm certain I've got this."
  1466. > With a sheepish smile she simply nods
  1467. "Hey, like I said, things like this; Normal. For me anyway."
  1468. > As you heft up the cart, Lyra begins to merrily trot beside you
  1469. > "So...what else is 'normal' where you come from..."
  1470. > "I mean, like - relationship stuff..."
  1471. > You look over to her
  1472. > She looks kind of embarrassed to ask
  1473. > Maybe she doesn't wants to know how much you deviate from Equestrian norms?
  1474. > She might be alright with it, but still.
  1475. > Would be easier to explain to her friends I guess.
  1476. > You decided to tell her what you know
  1477. > As the two of you proceed down the street, you get a few odd looks
  1478. > Probably assuming she's making you haul your stuff.
  1479. > Out of the various looks, you fail to notice one in particular
  1480. > A curious and icy look. Emanating purple from the iris and vengeance from the pupil.
  1481.  
  1482. > With a couple of blinks your irises bring Celly's sunlight down to a tolerable level
  1483. > Arching your back and flexing your wings, you get out of your lavish bed
  1484. > You are Princess Cadenza Mi Amore, and today is - thankfully - your last day in Canterlot
  1485. > Well, you didn't plan on it really.
  1486. > You just can't stand it here any longer
  1487. > At the very least let's hope a certain pair can't stand it here either
  1488. > With a sigh, you approach the vanity and begin brushing your mane
  1489. > Might as well go out for a little bit today; let's face it, the last time you were here was to wed your pathetic excuse for a husband.
  1490. > Lazy fucker can't even cook properly...
  1491. > And you have to take charge in bed...
  1492. > And-
  1493. "OW!"
  1494. > With a scowl you realize you tugged on a knot a little hard
  1495. > Sighing, you gently brush it down.
  1496. > With a once-over you set the brush down and begin to trot out of the palace
  1497.  
  1498. > Without chasing Anon, you really don't have a goal at this point
  1499. > As such, you meander about the streets of Canterlot, almost aimlessly.
  1500. > Considering the length of your stay, the ponies have at least backed off on the bowing
  1501. > Stopping at a corner you spy an open air cafe
  1502. > As good a place as any if nothing else.
  1503. > Without so much as glancing at the name, you take a seat - intending to get something to eat and leave
  1504. > Within minutes, a waiter arrives to take your order
  1505. > Though enthusiastic, you pay the waiter no mind. Almost staring into space as you're ordering
  1506. > As she bounds off to deliver your order, you can't help but notice a few older looking ponies staring
  1507. > And the conversations of some nearer patrons
  1508. > "Is she making him carry his own belongings?"
  1509. > "*sigh* I remember when mares had respect for their stallions..."
  1510. > "Hey, isn't that the human..."
  1511. > Wait a minute. Human.
  1512. > Oh Celestia, please...
  1513. > With a combination of trepidation and rising anger, you look to see what the other customers are looking at
  1514.  
  1515. > What you see is infuriating
  1516. > It's him. And he's with her.
  1517. > From this distance, you can't make out what they're saying, but...
  1518. > The smiles...
  1519. > The laughter...
  1520. > The looks they share at each other...
  1521. > You've seen all you need to.
  1522. > Why.
  1523. > Why her.
  1524. > Why here.
  1525. > Why now.
  1526. > Of all the things to do.
  1527. > First he rejects your love
  1528. > Then he finds somepony else
  1529. > Somepony who isn't even as good as you!
  1530. > You can feel your face start to heat up
  1531. > Then she has the nerve to parade him around like that
  1532. > While not readily apparent, your vision begins to blur slightly
  1533. > For all you know, she's abusing him.
  1534. > You feel a hoof tap you on your side
  1535. > Whipping around, you stare daggers into this interloper
  1536. > "Argh! P-p-princess...I-I-I h-have had y-your order r-ready f-for five minutes now...I just...."
  1537. > At this point the poor waitress ended up getting the brunt of your anger
  1538. > She's also begun muttering apologies
  1539. "*Ahem* I...apologize...dear subject. I was....merely deep in thought...Managing empires...and stuff..."
  1540. > Shit, that's hardly convincing.
  1541. > Though shaking, she manages to place your order in front of you
  1542. > While she placed it slow, she withdrew her hoof with speed that could rival lightning.
  1543. > With a huff, you sit and stare at your food.
  1544. > You don't feel hungry
  1545. > You feel wronged.
  1546. > Like the world decided to piss you off today.
  1547. > You were leaving Canterlot today.
  1548. > You planned on enjoying what little of it you could - after all, you weren't going to come back if you could help it.
  1549. > But now...
  1550. > Now it's like the world wants to piss in your oats
  1551. > ...
  1552. > Looking back you see Anonymous and...her...turn a corner
  1553. > You look back to your food and grimace.
  1554. > ...
  1555. > It's a bad idea.
  1556. > It truly is. But you're both curious and angry as all tartarus.
  1557. > You get up and proceed to follow them.
  1558.  
  1559.  
  1560. > Turning that same corner, you see them again.
  1561. > They're a ways a head - just enough not to notice you and just enough for you to keep an eye on them.
  1562. > You brush past several ponies on the street.
  1563. > You don't bother to apologize.
  1564. > With tunnel vision encasing the essence of your being, you continue to tail Anon
  1565. > How long have you been at this?
  1566. > Five minutes?
  1567. > Ten?
  1568. > It's hard to count wh-
  1569. > Oh. They've stopped.
  1570. > Shit!
  1571. > Frantically looking around you spot a newspaper in a nearby trashcan and quickly magic it up to hid yourself.
  1572. > Oh, this is so not going to work.
  1573. > With a nervous swallow, you shift the paper to get a better look
  1574. > Alright, they haven't noticed you.
  1575. > You continue to observe.
  1576. > He isn't holding the cart anymore
  1577. > He's just opened the door...and...
  1578. > ...and she's just brought him into a hug...
  1579. > That bitch!
  1580. > You snort in anger.
  1581. > You can't belie-
  1582. > Hold on.
  1583. > Did she just...
  1584. > She just kissed him!
  1585. > You can't hold it any longer.
  1586. > Your aura drops the paper and it lands into your hooves
  1587. > You quickly ball it up and hurl it at the ground.
  1588. > Seething with rage and in complete disbelief you remain rooted in place
  1589. > Your jaw has locked itself - your teeth putting an immense amount of pressure on themselves.
  1590. > You want to fight.
  1591. > You want to run.
  1592. > You want to cry.
  1593. > And yet, you can't.
  1594. > You don't posses the will to control a body that has shut itself down.
  1595. > But you must.
  1596. > Ponies on the street are staring
  1597. > One has approached you, mouthing words
  1598. > You can't hear them.
  1599. > You can only hear your heartbeat.
  1600. > Shaking, you manage to move a hoof.
  1601. > Tentatively you place it forward.
  1602. > Then another.
  1603. > And another.
  1604. > Only to realize...
  1605. > You aren't confronting them.
  1606. > You're retreating.
  1607. > As your body moves itself on its own
  1608. > You realize something.
  1609. > You've lost.
  1610. > Your frontal lobe has decided this path for you.
  1611. > The rest of your mind fumes. It enrages you.
  1612. > And yet...you know you can do nothing.
  1613. > Its as though that sixth sense of your is telling you the only thing you'll do is fall further than where you are now.
  1614. > As you march yourself back to the castle you notice something.
  1615. > You can't cry.
  1616. > And you have a powerful thirst for a strong drink.
  1617. > It's...
  1618. > It's time to go home...
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