#Gabriela Dawson | Explore Tumblr Posts and Blogs

persage · 1 year

Text

TRUE COLORS - BRIAN "OTIS" ZVONECEK

'Cause my boy Otis deserves better

Summary:When you spend your time at 51, you draw Otis on the sly. Everyone notices it, except him. Until fate gets in the way

Word Count: 2.5 k

Maybe it's the way he moves his hands. Maybe it's how he moves the dark curls from his face. Maybe it's the way he wrinkles his nose when he's tired after the shift and starts working at Molly's, tirelessly.

Or it's the way he writes, with his head slightly tilted to the left.

It could be just the way the light fits between his features and makes him pure, bringing out his light skin stained by many small moles. Perhaps it's his dark eyes.

You really don't know. You just can't help but drawing him.

You'd like to draw his eyes after you've seen them even closer and realized how deep they really are, because you're sure they are, more than anything else in the world. Or, again, maybe it's the way he curls his lips as he smiles.

It's probably all together and he doesn't even realize it while a few meters away you're crouched on a chair, in a corner of the 51, almost invisible and your hand moves over a sheet and captures his image, without mistakes or smudges. You could be drawing Brian with your eyes closed by now.

"Are you still here?" Your half-sister, Leslie, asks, noticing you. You've been spending a lot of time at the 51 lately (and equally at the Molly's) officially because you're soon to be Boden's new secretary, secondly to spend time with Lesley. What you didn't expect was to find yourself spending most of your free time observing Brian, scribbling his face here and there, forcing yourself from time to time to portray other colleagues as well so as not to arouse suspicion. "Let me work Lesl" You reply, letting the pen run across the paper noisily. "Our Little Artist" Kelly teases you, ruffling your hair.

"When will you set up an exhibition with our portraits?" Herman asks, chuckling. "That wouldn't be a bad idea you know" Mills replies, winking. "Think about it y/n" You smile uneasily.

"I should find better models" You reply as Cruz and Otis - Brian - shake their heads. "Listen to the nonsense" Your eyes meet and you smile at him and he reciprocates before the siren of the imminent call forces him to leave. You sigh.

He fascinates you just like he torments you, you long for him and at the same time you are afraid to get to know him better. There's something sweet, genuine about him and you admire his courage and his work, but at the same time you're terrified because deep down what do you have to offer? What can make you interesting to him? You're just a failed student who needs to work here to make some money, a failed artist who has lost her inspiration, who can't help her sister in a difficult moment, who didn't get a degree, who can't control the emotions.

"You never color it" Boden has noticed one day, admiring your drawings. "I think it would ruin it" You have replied. The truth is that you are convinced that to do this, especially when it comes to Brian, you should need to see the color gradations of his skin, his face, his freckles or his eyes. It is incorrect to portray a subject and complete it inaccurately. You will use color on his drawings when and if you can see him at very close range. Closer than the Molly's counter or the 51. For now you settle for pencil or pen.

Sometimes you dwell too much on his well-defined lips. It's one of the parts you like to draw the most, after the eyes. Then you look at the finished drawing and wonder if you are experiencing something that will never happen, or not experiencing it at all. And with every call they come back with wounded expressions from a difficult intervention and some new scar on the body or the soul ans you wonder if it really makes sense to waste all this time.

It must be said : fate works in a curious way at times.

You're -again- drawing Brian, he's wearing his uniform and he's approaching the truck laughing with Mouch. The 51 is quieter than usual today and there are few calls, an unusual thing but you don't mind. You smile when Brian turns to face you and pretend to be focusing on someone else, momentarily terrified that he will think you're crazy. You place your pen on the table in front of you, tie your hair into a spooky ponytail, then start over with the care you reserve for important things. Brian sighs, turning back in your direction, Mouch's hand on his shoulder as he shakes his head repeatedly. You wonder what they're talking about, you get the distinct feeling that it's you, and you feel your heart pounding in your chest.

Stupid little girl.

" Someone has a crush" it's a voice behind you. The worst voice you could hear in this situation: Joe Cruz. Brian's best friend, roommate, his other half.

"Of all of us Otis? Why?" Cruz sits across from you, a hand under his chin and an inquisitive expression on his face that does not hide his happy grin. And you're terrified, now there's no way Brian won't know about it now. "I don't have a crush. I draw all of you Cruz" you reply, trying to hide the blush on your cheeks.

"Yeah sure. You draw me once in a while, once of Herman, maybe three times of Kelly because it's particularly handsome, but I'm sure most of them are about Otis." You shake your head.

"What makes you think that?"

"I've been watching you Little Shay. You know, it's pretty obvious. You're not as good as you think at hiding." You open your eyes suddenly and feel your face get hot with embarrassment. Brian's eyes are still fixed on you and this with Cruz's words short-circuit you.

"If I were you I'd make a move" You need some fresh air. You get up and head for the exit, forgetting the notebook with your drawings on the table in a hurry.

When you come back for it, an hour and two cigarettes later, it's gone.

Two days, seven hours and a new notebook later, your half-sister has abandoned you at Molly's, a beer in front of you to finish and the light chatter of the last remaining customers. Someone sits next to you and lets their chair clatter to the floor. You don't turn around and stay focused on the beer because you know all too well who's next to you. Your senses alert, your heart furious. Brian.

"It's amazing" the voice is warm, but slightly high in pitch and secretly insecure. You shrug. "Thank you" you reply. Your brain is so muddy that you don't even wonder what it's referring to

"This is yours" now you look up and you see it. Brian's hand just reaching out to give you back the notebook. You stare at him dumbfounded. You admire the way the light falls on his face, how he smiled lightly and the lips you've always drawn so carefully, even more beautiful at that non-distance. For several seconds you don't say anything, but you stay still to study him, to study his colors, his embarrassed, sweet expression. Everything seems to stop to you.

"Otis, can you close?" Question Herman before leaving the pub, making you awaken and ashamed at the same time, realizing what you're getting into. You take the notebook without saying a word and start to get up and leave, but the boy's hand stops you, gently grabbing you by the wrist. It is soft, despite the hard work his skin is not rough. His warm skin seems to burn yours, leaving invisible marks.

You look at his fingers wrapped around your wrist, then at him, his dark eyes still fixed on you. He lets you go slowly, almost reluctant to break the contactn and you realize that he has the power to make you sit back, without saying a word.

"Sorry," you say sheepishly, looking away and letting your hair fall in front of your face to cover the blush on your cheeks.

"You shouldn't apologize" He replies, continuing to observe you. You feel his hand approaching your face, his fingers lingering near your hair, and you know what he's about to do, and you wish he would. You would like to him slowly pull your hair back, put it behind your ear, to let his big fingers slide against your skin and you would like to tilt your head to one side, to let yourself go to that contact. But he doesn't.

After a few moments he pulls his hand away, thinking maybe he's going too far.

Sure, your notebook is filled with portraits of him, but that doesn't necessarily mean anything.

"You're good" He whispers. "You're really good little Shay, you shouldn't waste such a talent." You just smile, let a sheepish chuckle leave your lips. Brian doesn't say it, but he feels like he's never heard a better sound in his life. He wonders how he didn't notice it before. Of course, as soon as you arrived at 51 he immediately set his sights on you, but he never really did it with an intention: partly because you are Shay's little sister, partly because he never thought he had any chance despite what Cruz said.

In short, Cruz doesn't always have brilliant intuitions when it comes to women.

Maybe Dawson's jokes could have enlightened him, sure, but anyway...Brian has never been a phenomenon with girls, in a barracks full of men like Kelly Severide why would you have to look at him? And instead you looked at him all the time, drew him so much that it filled entire pages, tracing his features with a pen and making him look much more handsome, bold, courageous, appreciable than he probably was. Because you see him this way.

"At first I didn't know whether to come to you or keep the notebook," he admits. "Then I thought it was a good excuse to talk to you."

"You don't need an excuse to talk to me Brian" you answers automatically, without thinking. He smiles, feels his heart melt in his chest. Hardly anyone calls him Brian, especially at the station.

"I needed to find the courage" he murmurs, clearing his throat. "It's easy in the barracks, between one joke and another but talking... I mean for real... It is different. Especially with someone like you"

"Someone like me?" you raise an eyebrow as he smiles. He is impossibly beautiful as his cheeks turn pink.

"An interesting girl, a curious one. An artist y/n"

"You're the only one who thinks of me like that. Artist."

He shakes his head. "That's not true, we all think so and if you start showing your drawings the whole world would do it" You shyly grab his hand which is still on the table.

"Thank you, you don't know how much this means to me." He hold yours back and intertwines his fingers with yours. He seems made to hold your hand, he seems born to grab you, to keep you close. And you wonder if hugging him gives the same effect, if even his lips are made to kiss yours.

"Listen, y / n ...." he takes on a serious tone of voice and you almost worry.

"Why have you never colored me? I mean, do you see me in black and white somehow? Does my aura tell you something? I'm not an artist, so I don't really know how these things work, but it scared me to death. Do you see me in any strange way?" he looks nervous

"Is that what worries you?"

"What else should?"

"I mean you find the notebook of someone who drew you too many times to count and you're worried about the fact that I don't color you?" you use a hint of sarcasm, realizing this confuses you.

Part of you feared there would be a different reaction, not anger knowing Otis, but at least a detachment, a rebuke. Anyone else would have been upset, but not him, he seems happy. He studies you carefully.

"You think I haven't seen you?" Your eyes widen and total silence envelops you. "What?" You're the one who doesn't understand now.

"Do you really think I haven't noticed that you spent your time looking at me and drawing me?" he shakes his head, amused by your shocked expression "You've been going on like this for months, aren't you going to pretend that you don't believe me?"

"I..." You can't say more. He laughs and you look at him, and then start laughing , because Brian has written "liar" on his forehead. "No, you didn't understand a damn thing my dear Brian" You retort.

"Oh I don't, but Cruz does. It was just hard to believe"

"And why?"

Brian doesn't answer, he caresses his goatee thoughtfully and you understand that you won't get the truth. Not yet. "Because you're beautiful y/n, people like you fly too many meters higher then me. In short..."

"I've looked at you from the start, Brian." You confess, this time without shame, your will to make him happy is stronger than any embarrassment. You know he needs to know it, to realize his value, for once to be the protagonist, the hero of your story, of your drawings, of your life. Him and no one else.

When silence returns, he turns to you again.

"So? Why didn't you color me?"

"I've never colored you because... I had to see you up close, really close, to be able to color you the way I want" you simply reply and he opens his mouth to say something, but he can't formulate anything, not when you continue. "Modigliani painted empty eyes, without pupils, because he couldn't paint what he didn't know: the souls of the people he was portraying. He only painted those of his partner Jeanne. I suppose it's the same for me. I can't color you without knowing the your true colors, without knowing what undertone your skin is or the paths that the veins form on your body."

Without realizing it, you've started to run your fingertip along his wrist, where the vein pulsates under the skin.

"Do you think." His voice is hoarse, scratched with emotion and excitement. "Do you think you'll give me the chance to let you find out?" He asks shyly. You nod with a slight smile.

"Are you asking me out Brian?"

"I'm asking you for dinner, then let's see what happens."

"Only one?"

"Maybe more than one"

266 notes · View notes