Mi culpa- Pablo Gavi (a)
Summary: You and Gavi had a huge fight right before his game, and he tells you that he doesn't want you to make it to the game and you get into a car accident.
I saw this on tik tok, so credits to whoever had this idea first. Enjoy!!
2nd Masterlist
"He said he would be here, mama."
"Y/n, sweetheart, it's been 2h. He is clearly not coming anymore."
"I'll call him again"
"You've already called him multiple times. He won't answer. It's ok, you can go to his game."
"But he said he would be here! Maybe something happened to him."
You started to panick at the thought of losing Gavi. You've been together for a long time, and you just couldn't imagine your life without this boy by your side.
He promised you that he would come to your family lunch. Everyone was there waiting for him. Your cousins, parents, uncles, grandparents.. everyone.
You texted him constantly, hoping for at least an answer, but he wouldn't pick up his phone. He never did that, and you were now on the edge of crying in front of your family.
You were so embarrassed when people would ask you about where he is. You at first tried to say that he is only at some training or the traffic is wild now.
It had come to a time when no more excuses could be make.
"Don't you want to eat something?"
"No, papa."
"He is for sure, alright. Maybe he couldn't make it, but forgot to tell you."
"No, he wouldn't do this."
You sighed before apologising to everyone about Gavi and telling them that you are going to his house to see what's the problem.
When you arrived there you saw Gavi preparing to go to the game. When you saw him alive and all save, anger started to feel in all your body.
"Qué te pasa?" (What is wrong with you!?)
When he heard your voice, he smiled, but right after he saw your face, it faded away.
"Qué-?"
"No me digas que no sabes de lo que hablo" (Don't tell me you don't know what i'm talking about)
"No, realmente no lo hago."
After you realised that he forgot about this lunch, you felt like you could kill someone right there. He promised to you and knew how important it was for you.
"No puedo creerlo" you said it more to yourself. How could he forget?
"Por favor, dime de qué estás hablando." (Please tell me what you are talking about.) he said it with a shaky voice.
"Te olvidaste de mi almuerzo familiar!! ¡Me prometiste que estarías allí y sabías lo importante que era para mí!" (You forgot my family lunch!! You promised me that you would be there and you knew how important it was to me!)
When he remembered about the lunch, he stopped doing whatever he was and tried to come to you to apologise, but you just walked out of his embrace.
"Te he llamado varias veces durante horas, Pablo! Por jodidas horas! No tienes idea de lo avergonzado que me sentí allí de pie, esperándote mientras todos preguntaban 'dónde está tu novio!?' Pues yo tampoco lo sé!" (I have called you several times for hours, Pablo! For fucking hours! You have no idea how embarrassed I felt standing there, waiting for you while everyone was asking 'where's your boyfriend!?' Well, I don't know either!)
"Y/n-"
"Y lo peor es que pense que te habia pasado algo! Estaba entrando en pánico porque te perdí y tú estás... aquí!? Haciendo.. nada!? (And the worst thing is that I thought something had happened to you! I was panicking because I lost you and you're…here!? Doing. Nothing!?)
"Lo siento mucho. Lo olvidé por completo, pero por favor tienes que entenderme también. Tengo un juego difícil esta noche y mi mente estaba en eso. Lo siento mucho" (I am sorry. I completely forgot, but please, you have to understand me too. I have a tough game tonight, and my mind was only on it. I'm really, really sorry.)
He was sad and you tried to understand him, but just couldn't. It was something that is hard to forget.
"Deberías haberme dicho esto antes de prometerme que estarías allí." (You should have told me this before you promised me you'd be there.)
He rolled his eyes. He was in no mood for a fight now, and he really had to go to the stadium.
"Entiendo, es mi culpa, pero por favor, olvidémoslo. Tengo un juego para asistir-" (I understand, it's my fault, but please, let's forget about it. I have a game to attend-)
"Solo te importa ese juego!" you said it, now really angry. You were about to cry, but tried to keep as calm as possible.
"Bueno, por supuesto. ¡Ahora mismo es más importante!" (Now it's more important)
"Qué?" you said it shocked. You really had enough of this.
"Como has oído, sí. Tengo que concentrarme en ello." (As you heard, yes. I have to concentrate on it.)
"Entonces el juego es mas importante que yo?"
"Ahora sí"
You felt like you could throw yourself from a bridge now.
You nodded your head and were about to leave before saying the last thing he ever heard from you.
"Entonces no quiero arruinar tu noche." (Then I won't ruin your night.).
He rolled his eyes once again.
"Estás siendo tan dramático. Realmente espero que no llegues al estadio. No soporto tu estado de ánimo esta noche." (You are being so dramatic. I really hope you don't make it to the stadium. I can't stand your mood tonight.)
When you heard him say that, you smiled sadly. You never thought that you two would become like this. You still wanted to come to his match. You knew that he didn't mean it and that your support was really important for him.
Pablo felt horrible after you left. He never shouted at you, and doing that made him devastated. He tried to forget about your fight. He had a match to win tonight.
You went back to your house without saying anything more. Your parents asked you if you talked to your boyfriend. At that moment, you didn't even know if you were together anymore. All this was so confusing and you needed to clear your mind for a bit.
You threw yourself on the bed and slept for some good minutes.
When it was only 30 minutes before the game would begin, you changed (still wearing his jersey) and went to your car to drive yourself to the stadium.
You still hadn't eaten anything and you were starting to be a bit dizzy.
It was already night outside, and the traffic was absolutely full. When you were right next to the stadium, someone bumped hard into you, making pieces of your car to be thrown away. You only saw white, and you fainted.
While the game had started, sirens of ambulance started to be heard everywhere. People were confused and curious, the game being forgotten.
After the first half ended, Xavi went directly at Gavi, shouting his name.
"Gavi!!! Gavi!! Ven aquí!"
"Qué pasa?"
"Tu chica está en el hospital... en coma. Ve con ella ahora mismo. Tienes que estar allí con-" (your girl is in the hospital in a coma. You have to go there, be with-)
"Qué!? No- por favor, Xavi, no-"
"Lo siento mucho"
"No, no"
Right now, Gavi started to cry. It was his fault and only his. He had to take you here himself. Now he lost you forever.
He hurried up to the hospital you were at, leaving the game behind. He ran like he never had.
When he arrived, he asked everyone about you. Every nurse that was around was asked about your condition by Gavi. He was really panicked and when he saw your family standing there, he cried harder.
He started to say that it's all his fault and that you two fought. He couldn't lose you knowing that the last thing you talked was something bad.
Your family tried to console him, knowing how a good boy he is. Nothing was working. He wanted to see you, he had to see you.
He stayed there all night on that chair. He didn't sleep at all, wanting to be the first one that knew about your condition. He prayed all the time, hoping for you to wake up.
He just couldn't live without you.
He cried like he never had. Days had passed, and Gavi was still there at the hospital. He saw you only for some seconds, and it was enough for him to make him cry harder.
Your parents and his would bring chlotes to him and food. He just didn't want to leave that seat.
His eyes were all red and puffy while your mother was hugging him close to her heart. She would tell him nice stuff in his ear, trying to calm him down a bit.
He knew that if you would die, he wouldn't be able to forgive himself for it.
Everyone was praying for you because everyone loved you. You were a sweet person, someone who went through hell in this life, but every time, you chose to be a kind-hearted girl. You were the one that was there for everyone, the friend that you wouldn't get bored with.
Every person would want a friend like you, and every boy would love a girlfriend as you.
"Gavi!!! Gavi!!!! Everyone is cheering for this incredible boy! Spain, champions of the world!! All this because of this talent of Pablo Gavi!!"
"You did it, amor! Congratulations!!!!!"
"Mis chicas..." he said while taking your daughter from your hands and kissing your lips.
"Te amo.." he said, and you smiled.
"Te amo, y/n".
He said while holding your hand on the hospital bed.
"Despertar... por favor" (wake up.. please)
628 notes
·
View notes
Your Weyounsday treat: One of the first articles about Jeffrey Combs published.
Arizona Daily Star Sun [Tucson, AZ], 29 April, 1979, pp. 1, 4
Did they have to give the article that title? (ಥ﹏ಥ)
[BEGIN ARTICLE TRANSCRIPT]
The Arizona Daily Star
TUCSON, SUNDAY, APRIL 29, 1979
Sunday
Loneliness comes with actor's role
At 24 and looking as if he still drips with innocence, young is a word that can be freely used to describe Jeffrey Combs. He is young, looks young, and is in the young years of his professional life.
Also, he had an early and, given his calling, perhaps prophetic brush with a person of that name.
"My parents had a car accident when I was about a year old and we had to go into a hospital," explained Combs over lunch. "Loretta Young was in the same hospi- tal and had requested that a nurse bring a baby to her every morning to hold. So, while I was there, a nurse would come to my mother in the morning to take me up to her room and Young would feed me."
Youthful naiveté is what Combs' character in the Arizona Theatre Company production of "The Show-Off" is all about. In the play, which has its last performance tonight at 7 in the Tucson Community Center Little Theatre, Combs plays the youngest son of the family, a con- stantly preoccupied fellow who trips over his tongue and shoelaces and brings home the bacon with a formula.
This has been Combs' first season with ATC and he says "The Show-Off" has been his favorite play. Tucson audiences have also seen him as the narrator/nephew in "A Christmas Carol," as Valere in "Tartuffe" and as Diego in "The Royal Hunt of the Sun." But it's the current George Kelly comedy that places as the favorite, partially because it feels so familiar.
"The whole feeling of the show is so human, so close in a way to my own life that I didn't have to reach that far to get the feeling." Combs, the fifth of seven children, knows what a tightknit family is like.
"My own family ties are very, very close and I miss the times of being together with them. It's hard to be in such a nomadic kind of work I always want to see them.
"At times, being an actor can be one of the most rewarding things in the world. And at other times it can be very lonely."
Combs is the youngest member of the ATC resident company and he has experienced both the rewards and the loneliness this season. He says that it's part and parcel of the career he's chosen, and that it will be tempered as he grows older and gets more professional experience in the process. But he's impatient and knows it.
"One of the disadvantages of working in Tucson is the isolation. The sheer locale of the city being geographically where it is.
"I am an impatient person. There are people that I love, to whom I've had to say 'see you later.' They ask 'why?' and I have to say I'm going to Tucson to this theater. And that I might not be the same person when I get back, just as they might not be the same."
But, Combs says philosophically, the phases of life are like that. And he knows that he has been free in making the choices, even though they still hurt at times.
"There was no question in my mind whether I wanted to come here or not - certainly I felt the sacrifices were worth it. And I would like to come back here next year."
But he would also like to have the chance to experi- ment with his own ideas, collaborating with others in improvisational structures, using his own material to cre- ate worlds, rather than someone else's.
"The chances to do those things would be the only reservations I would have about coming back. It's not that I wouldn't want to-Sandy (Rosenthal) is one of the most energetic spirits of the theater. He loves it more than anybody I've ever seen. But I have this itching and my focuses and desires may go in a direction that might not be appropriate here."
Combs says that the idea of an ensemble resident company is not new to him; in some ways, it's the system he knows best from his work with the Pacific Conservatory Theatre of the Performing Arts and the Old Globe Theatre.
"I've pretty much been nurtured, pushed in the en- semble direction all along. I haven't really gone out and jobbed into a company for a short period of time, or been put in the position that the prime directive is to 'get the show up by 8 p.m. Tuesday." But he's found that he's grown in the season he's spent with ATC.
"I've synthesized some of the things I've learned relearned them through experience. I feel really relaxed in this company. Not in the sense that I'm so confident that what I'm doing is good, so I can relax, but in the sense that I can make a mistake and not feel like I've really let someone down. I can learn from the situation.
"And I've learned a sense of what the professional world is like, what the good side is like. Take someone like Bob Ellenstein. He doesn't have to be here - the only reason he is is that he's dedicated, that the experiences here will make him a better actor. He could just as easily be making 15 times more money somewhere else, doing things that were not as enriching to him."
Combs says he is unhappy with a portion of his abili- ties, particularily when he senses he's acting out of techni- cal proficiency rather than a more emotionally-based ground. There needs to be a balance, and he says that his season with ATC has given him the opportunity to work on that weakness.
And he says he waivers between the acting world and his own desires for domesticity. On the other hand, he's exactly where he wants to be.
"I love what I'm doing. The commitment is so drastic that it can be frightening, at times. The more renown you get, the more value placed upon you as an artist, the more freedom you have and the more choices you can make. But, being a young actor, you can't have all those freedoms yet.
"One needs to have some sort of perspective from other things. It's just that I want so badly to be in this business and to do the things I want to do. Maybe it's an obnoxious thing for someone only 24 years old to say, but I don't want to be a victim. I'd rather be the perpetrator, if you will."
[END ARTICLE TRANSCRIPT]
[BEGIN PHOTO CAPTION TRANSCRIPT]
Combs says that he has felt lonely at times this season, away from his family, friends and home base in California. At the same time, this year has been one of growth with the sort of challenges any actor needs, particularily in the formative, initial years of a professional career.
Now finishing his first sea- son with the Arizona Theatre Company, Jeffrey Combs hopes that it won't be his last. But the 24-year-old actor also wants to scratch the itch he has to do some of his own work in a collaborative, improvisational situation.
Photo by Tim Fuller
[END PHOTO CAPTION TRANSCRIPT]
54 notes
·
View notes