Uncertain
CW: Pure angst
Word Count: 4668
Other Pieces: This is a sequel to this.
You finally feel like your life is starting. Washington D.C. is free of Marcus Pike. He’s back in Texas with Teresa Lisbon (you gave in to your misery for a weekend, and you had stalked the woman’s social media until you felt sick and deleted your profile altogether).
Then you decided to be happy. To move on. To set the misery aside, to consider your years’ long crush on Marcus Pike as a painful lesson.
You do just that. You move on. You find a semblance of happiness.
You love D.C. You love your job. You find a townhouse in Truxton Circle, a mile from work, and you bike there every day. Your neighborhood is walkable, and it reminds you of your time in Europe.
You can’t fathom how this is your life. You can’t quite believe that the girl raised in a working class home with a mechanic father and a waitress mother grew up to get her doctorate in art.
Sometimes you go to sleep worried you’ll wake up in the morning to find that it was all a dream. Love-life aside, you have a dream job in an interesting city. You have a great townhouse with a lot of old character, and the entire scene rounds out when a stray cat adopts you and moves in, just saunters in your backdoor one morning like she owns the place.
You don’t allow yourself to think about Marcus. You know he moves fast; you know he’ll probably propose to Teresa and remarry soon. Maybe this one will stick, but you don’t care to hear about it either way.
Deep down, underneath all the hurt, you know you still love him. But that love has only ever been nourished by your own fragile hopes, and it’s like a hot coal banked under cold embers. It still could burn bright, but with each day that passes, it flickers a little dimmer, grows a little colder.
Someday it will be a cinder. Someday your love for Marcus Pike will just be a burnt piece of ash.
-----
You love your work in restoration because it’s so many things at once. It’s art and history, science and economics. It’s sociology. A woodblock from feudal Japan is utterly unique when compared to an oil painting by a Dutch master…but it’s also exactly the same. It’s the same human impulse to create, to form something in their time and place.
You love the National Gallery. You love everyone who works there: your teammates, the docents, the gift shop employees. The guard who hails you each morning when you scan in, the coffee shop lady who calls you “sweet pea” when she slides your coffee across the counter at you.
But you love the work more than anything. You love receiving a new painting. You love being a steward of fine art: knowing that others came before you and others will come after you, but that you’re linked to your predecessors and successors over a mutual love of timeless pieces.
You love x-raying the paintings to see what secrets they reveal. Other paintings that the artist covered over. Sometimes it’s earlier, poor attempts at restoration or even censorship. The Catholic Church was especially famous for the latter, covering up the upsetting genitals of fat little cherubs, turning black Madonnas lily-white.
A lot of your work is collaborative. Other museums reach out to you. Galleries. Auction houses and private collectors. You help verify paintings with dicey provenances.
More rarely, you help law enforcement. It’s only been twice, so far, and both have been consulting outside of D.C. One was NYPD—a rumored Rothko turned up in a raid. Another was DEA, when a cartel capo’s house was raided and trio of unknown Tamayo paintings were found.
When you get a call from the FBI, you don’t think anything of it. Marcus is in Austin, so you get that dip of excitement in your stomach at the prospect of a puzzle to solve. There was a shipment of contraband intercepted, and there’s a crate full of art pieces. They need your help identifying some of them.
“Of course,” you tell the guy—an agent named Roberts—over the phone. “Bring the pieces over as soon as you can, and I can look at them.”
-----
It takes a couple days, and you never once think you’ll see Marcus. There’s no portents, no omens that your life in D.C. is going to turn. There’s no crow cawing at you from a tree. There’s no dark cloud following you as you ride your bike to work that morning.
Life isn’t like a movie. You have no sign that your world is going to tilt off axis. You scan in that morning, sort through some mail. You eat lunch with a coworker. And then at one o’clock, you stroll down the hallway to the workshop where the FBI’s art pieces—and the FBI agent, Roberts—are waiting.
When you open the door, it’s not one agent. It’s two. A tall man with greying hair at the temples—Agent Roberts, you assume.
And Marcus Pike, standing right beside him. Looking at you like he’s been shot. His eyes are wide, and his mouth falls open for a fraction of a second before he snaps it shut.
Goddamned, fucking Marcus Pike.
*****
It’s been almost a year since Marcus saw you last. It was that disastrous dinner when you had, he assumed, wanted to confess your feelings for him. When he instead broke your heart by telling you about Teresa Lisbon.
Almost a year. A lot has happened.
He falls fast and hard for Teresa. He proposes too early. He asks her to move to D.C. with him when the promotion comes up.
He is left, in the end. Teresa chooses Patrick Jane over him, and Marcus finds himself with the prospect of being alone. Again.
Alone, his impulse is to reach out to you. You had blocked him, however—his calls and texts don’t go through, his emails seem to go into a black hole. He could find your address but doesn’t dare.
For the first time ever, Marcus is left to be uncomfortable in his own feelings of loneliness and heartbreak. For the first time, you aren’t there to prop him up, to be his one-woman hype-crew.
He wallows. He finds a condo in D.C., but he doesn’t bother to unpack most of the boxes. His stubble turns into a beard, a little patchy, and he finds that he doesn’t care to shave it off. It makes him look roguish, on good days, and downright depressive, on bad days.
Almost a year, and then he sees you again.
Roberts is the one with the hookups at the Smithsonian, at the National Gallery. He knows all the local experts, and when their raid turns up a crate full of unidentified art pieces, Roberts reaches out to his experts.
“I know of a guy,” he says, but Marcus doesn’t realize that his partner uses the term “guy” in a gender neutral way.
The guy Roberts knows of is you.
A few thoughts occur to Marcus all at once. First, that you must be setting the art restoration world on fire to have already acquired a reputation as an expert. Second, that you’re an utter professional, because you shake Roberts’ hand and then his own, giving away none of your personal ire at him.
And third….you look good. If Marcus has fallen apart a bit, if he’s living in slightly rumpled suits and a patchy beard, you’ve pulled yourself together. You’re in dark wash jeans and a button down Oxford of sky blue. Your hair is in a low ponytail. You look casual and professional at the same time, polished and understated.
You look lovely.
You also look eager. When your eyes drift from him back to Roberts, you light up. You rub your hands briskly together and ask the other agent what goodies he’s brought you.
-----
You’re good. Marcus is good, but you’re better. He can see where you got your reputation.
There’s five oil paintings. You dismiss four of them outright. You pull on a pair of magnifying glasses, click on the small light on the frames, and you peer at the paintings closely. Marcus and Roberts stand off to the side, listening as you mutter about pigment types and aging, and then you stand up. Click off the light.
“These four were done in the style of Titian,” you tell them. “But I’m certain they are recent copies. I could run an analysis on it, but some of the aging qualities look like faking. Tea bags. Nicotine. These are no more than thirty years old, tops.”
“Okay, good,” Roberts says.
You nod and then turn to the fifth painting. Click your light back on and study it.
“Can you give me any details around the operation?” you ask them as you focus on one corner of the painting. “Where it came from might help.”
Roberts gives you the details: they are running down a smuggling ring out of Russia. The son of an oil oligarch has been stealing rare paintings from small museums and galleries and private collectors in former Soviet countries, then releasing forgeries back into the market. Allegedly.
“Huh.” You say it like you have an idea, and a moment later you whip off your glasses and stride—almost running—over to a laptop. You tap furiously on the keys, then throw a switch that projects your screen on a nearby wall.
“Okay, so this fifth one might be something,” you tell them, and your voice is shaky. It sounds like you might cry, but when Marcus looks closer, he sees that you’re trembling. You’re practically vibrating, and he realizes that you are excited.
“Just eyeballing the pigment, it looks 16th century, but I can test it and verify. But look at these details.” You point at the painting they brought you, then point at the painting you are projecting.
“See the lily of the valley in that pot there?” You point at the projection, then point to their painting. “Sure, lilies were a common motif in religious paintings of the Virgin Mary, but look. It’s almost exactly the same. The same pot of lilies of the valley. And here, in the corner of each painting, the signature. A single ‘G.’”
“What is the painting you’re comparing to?” Marcus asks, and whatever anger you feel for him has been buried under the excitement of your possible find.
“It’s Annunciation. It’s the only known, signed work by a painter called Master Jerzy. Jurek Almanus. He’s almost completely unknown. There’s been a couple of other paintings that they think might have been his, but….” Your words trail off, and you just stare at the confiscated painting from the raid.
“I saw Annunciation in Krakow when I was in Europe,” you add, and your voice has a hushed, reverential quality to it. “I fell down a Jerzy rabbit hole. I never thought I might see a second painting of his.”
“We can sign the painting into your custody,” Roberts tells you. “If you can verify it, it might help us start the trail of its provenance.”
“I can get in touch with the Czartoryski Museum, where Annunciation is, as a start,” you reply. Your eyes never leave the painting they brought you, and your face is full of wonderment.
Marcus knew that you loved art—obviously so, since you got your doctorate for the love of it—but he had never quite grasped how much. You gaze at the painting like you are witnessing a miracle in real time, and maybe to you, you are.
-----
The recovered painting is a foot in the door. It’s a way back into your life.
Marcus isn’t too proud. He asks Roberts if he can manage the possible Jerzy paining, which means checking in with you at regular intervals. It’s only phone calls, and sometimes emails, when you send him lab results from your National Gallery email. Official business only, as much as Marcus tries to pry that door open a little more each time.
The first call: he asks how you’re doing. You ignore the question altogether and update him on the talks with Krakow.
The second call: again, he asks how you are. You give a terse, “I’m fine,” then explain that you’ll be sending the x-rays of the painting that show an earlier, discarded painting underneath it. The confiscated painting is a palimpsest, and there’s a quality of excitement in your voice when you tell him so.
The third call: he’s in a low spot already. He’s heard news about Teresa and Jane, and it shouldn’t hurt as much as it does…but it does. On the phone with you, after you update him on the chemical analysis of the painting—the pigment, the canvas, the frame—there’s a beat of silence that Marcus fills awkwardly.
“I’ve missed you,” he says, weary to the bone. Wanting just a fraction of comfort from you.
He can hear your sigh. He can hear the long stretch of uncomfortable silence, and he knows that you’re probably struggling with how to reply to him. It makes him feel even worse. His best friend is a stranger to him now, and he doesn’t know how to find his way back to her. To you.
“I’ll talk to you soon,” he adds, sparing you the awkward need to reply to his admission of missing you.
Sparing you the need to lie and say that you’ve missed him too…or worse, telling him the truth: that you haven’t missed him at all.
-----
It takes a while before the painting is verified. There are a million tests you have to run, conferences and long hours arguing with other art experts. An expert from Poland flies in to examine the painting, and he helps pick up part of the trail on this painting’s long journey across time.
Marcus goes to the National Gallery, ostensibly to pick up a thick folder of your findings, though you have been emailing a lot of it to him piecemeal, as you’ve gotten it. But you’ll pulled together an impressive amount of research, and it’s an excuse to see you.
An excuse to try and push that door open another fraction.
You hand him the folder, and Marcus pages through it with an appreciative whistle. “If you ever get tired of working in a museum, the FBI is always hiring. This is remarkable work.”
The bit of praise makes you smile. “That’s the thing, though. This job is art and detective work.”
“Best of both worlds.”
“It really is.”
He shuts the folder, taps the cover in a nervous tattoo with his fingertips. This paltry exchange is the closest he’s gotten to a meaningful talk with you. It’s nothing at all, but it’s the best he’s got.
“I’ve missed you,” he says, echoing his last call with you.
You sigh again. “Marcus—”
“You don’t have to say anything,” he interrupts, hasty to not hear what you may reply with. “I just wanted to let you know that I’ve missed you. And I thought I might get a coffee with you sometime.”
You look at him, and he can’t read your expression. You’re inscrutable now. Maybe you always have been. Maybe he’s never read you right before.
“You want to get a coffee?” You ask finally. “Let’s go then.”
“Now?”
You glance at the watch on your wrist. “Yeah, why not? It’s that time in the afternoon that I start to flag, so a coffee will do me good.”
*****
You don’t know why you agree to get a coffee with him. Maybe because you have missed him, despite it all. Maybe because you can’t help the way your traitorous heart stammers in your chest when you see him, despite how disapproving your head may be. Maybe you’re curious about what he might say. Maybe he’ll apologize.
Maybe you’re just high on the research, on finding a missing painting from a mysterious guild painter.
Either way, you find yourself at a nearby café, a mom-and-pop place that serves the D.C. workers, not the D.C. tourists. At two in the afternoon, it’s quiet—just you and Marcus, pretty much.
He orders a coffee. You get a honey halva latte, and when he tries to reach past you to pay, you turn your shoulder and block him, muscle memory from all the times the two of you play-fought over the check. You don’t even realize you’re doing it until his hand brushes against you, and you frown at how easy it is to fall back into the old patterns with him.
If I’m not careful, I’m going to let him break my heart again, you chide yourself. It’s your logical mind that thinks the thought—and it’s your duplicitous heart that hammers against your ribcage at the touch of his hand.
The two of you take your drinks and find a quiet table tucked away in a corner. You watch Marcus stir creamer into his coffee. He looks…less crisp than he used to. He looks a little dog-eared, a little worn down. You like the stubble, actually, but his eyes look forlorn.
All it takes is a simple, polite question from you to open up the floodgates. The usual, polite-society question.
“How are you, Marcus?” you ask, and yes…you fall right back into the old pattern.
He treats you just like he used to. He treats you like his therapist: he tells you about Teresa, and someone named Jane, and you don’t know if Jane is a first name or a last name, or if Teresa left him for a man or a woman, but his words wash over you and you stop comprehending what he’s telling you. His voice fades away and a low roar fills your head: the hot-blood of your temper being raised. The fuzzy, staticky roll of years’ worth of anger and disappointment and heartbreak filling you. Making your face and neck break out in a hectic flush of rage. Making your hands clench into tight fists in your lap.
“You’re unbelievable,” you mutter under your breath, interrupting his litany of words.
Marcus stops midsentence. Cocks his head and asks, “What?”
You’ve always swallowed your bad feelings down with him. Always. You’ve choked on disappointment, swallowed the bitter wash of unrequited love. For so long—since you were a fucking kid. You hate that he has this power to make you feel like that kid again, that unworthy, second-best kid who can’t compare to the random, disappointing women he convinces himself are the One.
“I said you’re unbelievable,” you repeat, and you unclench your fists. You realize that you’ve been slumped over—that insecure teenager again—so you sit up straight. Push your shoulders back, lift your chin and stare him down directly.
The anger must be apparent in your eyes. Marcus flinches at what he sees.
“I haven’t seen or talked to you in over a year,” you say, and you keep your voice low and steady. You’re in public and you don’t want to make a scene.
“That’s why I wanted to get a coffee…” He trails off, uncertain.
You laugh, bitter. “Get a coffee so you can unload your problems on me? Nice, Marcus.”
“We are friends,” he says. He sounds defensive, even if his eyes look sad. “Or we used to be.”
“Were we friends? Really?”
He sighs and looks down into his coffee mug. “I know you had a thing for me,” he starts to say, but you don’t allow him to get any more of that thought out.
“A thing.” You laugh again, a short bark that is mirthless. “Marcus, I was in love with you for years.”
“I didn’t know that. Didn’t know it back then, I mean. But we were friends….” He trails off again, but he raises his head to look you in the eyes.
“We weren’t friends, not really.” You shake your head and snort at how fucking obtuse he is. “You know, I’m not even mad that you never loved me back. You can’t help who you love. I’m not it for you? Well, that’s tough for me, but that’s life. I was never mad about that. Sad, sure. Disappointed? Sure. But never mad.”
“You seem really mad at me now.”
“Because you call me a friend!” You raise your voice, and you hate how girlish you sound when you’re mad; your voice is shaky with anger, and it sounds like you’re about to cry. Which, you might.
“You are a friend!” He raises his voice too, lifts his hands in frustration before letting them fall back onto the tabletop.
“I’m not a friend to you, Marcus. I’m your…your fall back plan. I’m your therapist. Your….I dunno. I’m your emotional punching bag, and I’m not going back to that place with you.”
“I don’t know what—”
“You never come to me unless you need something,” you clarify, and now your voice really is trembling. Your throat feels tight from the sobs that want to tear free, but you push through it. You need to tell him this. You’ve sat with it for years, and now it’s coming to light. It’s a festering wound that is finally being treated.
“When you have someone, you disappear,” you continue. “You lose yourself in that person, and you put me back on the shelf. And I’m just supposed to sit there and wait until you need me again, but all you want is someone to tell you that it’s okay and that you’ll find real love someday.”
Marcus seems to go pale under his tan. He wilts in his seat, slumps a little. “That’s not true,” he protests weakly.
You lean forward and fix him with a glare. “When have you ever asked about my life? Or put me first? Isn’t that what friends do, give and take? You just take though, Marcus. You take and take and take, and you save all the give for the disappointing women you date.” You snort. “Or the women you marry.”
“I—”
“You didn’t come to any of my graduations, and I had three. You never dropped me a note or got me a gift to celebrate any of the milestones I’ve hit. You barely talked to me when I was in Europe because you were married. Even my celebration dinner back in Austin turned into the fucking Teresa Lisbon hour, and how did that end up, in the end?”
He doesn’t answer. He opens his mouth but then shuts it, and he only gazes back at you. He looks so sad, it might have dampened your ire any other time. But this is the first time you’ve ever said this stuff out loud, and it feels cleansing. Like you’re bleeding out all of the poison that had accumulated over the years of loving him without receiving any love back.
You take a deep breath and will your hammering heart to calm. You lay your hands on the table.
“Just answer me this, Marcus.” Your voice is quieter now, and a lot of the anger has burned off.
He nods at you, gestures for you to continue.
“If Teresa had moved here with you…if the two of you had gotten married and moved to D.C., and then you ran into me about the Jerzy painting again. Would you have asked me out for a coffee to catch up? Or was this just you being alone and lonely again?”
The guilty look on his face is all the answer you need. You nod, once, and stand up. You could yell at him more, but you feel exhausted all of a sudden. Spent. Drained.
“Take care of yourself,” you tell him softly, but he doesn’t reply. He doesn’t even look at you. He keeps his gaze fixed on the table in front of him, an unhappy frown on his face. His eyes glassy with tears.
*****
Marcus knew he had messed up, but he never realized just how badly he’d done.
He thought it was a broken heart. Unrequited love. Maybe it was that, but it was so much worse.
He wants to argue you with. He wants to tell you that you’re wrong, that he’s always been there for you…but he can’t. As you lay your recriminations at his feet, he realizes that you’re right. That he’s faded out on you when he was in a relationship. That he pulls you back into his orbit when he needs you.
You’re right: he takes from you, but he rarely gives you anything back.
If he thought he felt low when Chloe cheated on him and he got divorced….or when Teresa chose Jane over him….neither of those moments compare to this. You’ve been his dearest friend for years and years, but he hasn’t been that for you. You had let it slide in the past because of some misplaced, blinding love for him, but he’s never been a real friend to you.
What can he possibly do to make it up to you? Blocking his number and his email, moving away without a farewell—it all feels like the end. Like you crossed that bridge and tossed a match after you, and only now he’s seeing the burnt remains between you and him.
All he can do is honor your wishes. He hands the bulk of the case back to Roberts, makes up an excuse about wanting to focus on other cases, which isn’t a complete lie.
But not before he sends you an email: from his personal email address to your work one. He doesn’t want to guilt you or put you into an uncomfortable position. He only wants you to know that he understands. He finally understands, years too late.
I’ve handed the case back to Roberts, he writes. I realize now how I failed you for so long. I don’t deserve your friendship and probably never did, but please know that I always treasured it. I want to respect the boundaries you’ve put up. I won’t reach out again, but please know that if you ever need anything from me—anything at all—you can call me. I will always want the chance to be the friend you always needed but never got.
When he hits “send,” he feels a rush of various emotions: shame at the situation with you getting to this point, to where he’s reduced to communicating via email. Guilt too.
But the most prevalent emotion: a deep melancholy that seems to sink into the very marrow of his bones. It’s more than sadness. It’s a feeling of finality, just as he’s starting to wise up to the fact that he’s lost you, before he had the space in his life to realize just how much you meant to him.
You don’t reply to his email. He doesn’t expect you to. All he can do is be patient and work on himself. He needs to not fall into the next convenient relationship; he has to stay single and really address the deep-down issues that cause him to be so clingy, so quick to move in a relationship.
He waits a few weeks, and then he finds a therapist. Twice a week, he sits and spills all of the secrets of his heart, and sometimes he feels better after, but sometimes he feels worse. It’s all good work, though—the hard work of learning who he is, what drives him.
Marcus Pike may never hear from you again, and he’s probably lost you forever. But there’s always a chance you may return to his life, and if you do, he wants to be the best possible version of himself. He wants to be well-adjusted and conscious of how he treats his friends.
In case you ever choose to speak to him again, he wants to be the man you always thought he was. The friend you always needed.
~~~Tag List~~~
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