[ With the door shut, the interior lights go out, and all that's left to light the darkness is the streetlight filtering in through the darkly tinted windows. Bradbury grunts a vague affirmative in acknowledgement, but he's studying his own reflection, watching his breath fog up the glass. He feels sober already, though maybe he's not in the best state to judge that either. ]
So this is what it looks like from your side. [ He means the seating arrangement, mostly, but he's not sure what makes him say that. Then he makes the mistake of looking over, and finds himself caught off guard by the way Mitch looks, half-tousled by wind and cheeks flushed.
The next seconds are like watching himself from a distance, in third person, a slow-motion flip of snapshots from someone else's life. First, he's leaning away from the window, second, he's reaching out to close the distance, third, he's turning Mitchell's face towards him (is he confused? angry? his eyes are shut, he won't look), fourth, he's kissing him
He's kissing him, close-mouthed and warm, and that awareness snaps him back to the present like a shock of ice water down his spine. ]
no subject
So this is what it looks like from your side. [ He means the seating arrangement, mostly, but he's not sure what makes him say that. Then he makes the mistake of looking over, and finds himself caught off guard by the way Mitch looks, half-tousled by wind and cheeks flushed.
The next seconds are like watching himself from a distance, in third person, a slow-motion flip of snapshots from someone else's life. First, he's leaning away from the window, second, he's reaching out to close the distance, third, he's turning Mitchell's face towards him (is he confused? angry? his eyes are shut, he won't look), fourth, he's kissing him
He's kissing him, close-mouthed and warm, and that awareness snaps him back to the present like a shock of ice water down his spine. ]