tellitslant: (bsg - cain/gina - sweet darling)
[personal profile] tellitslant
Title: this one's gonna bruise
Author: [livejournal.com profile] tellitslant
Recipient: [livejournal.com profile] pocketwitch
Fandom: BSG
Word Count: 1600
Pairing: Gina/Cain
Rating: NC-17
Notes: written for the Human side of the International Day of Femslash Humans vs. Cylons challenge run at [livejournal.com profile] getyourtoaster. Many thanks to [livejournal.com profile] pirateygoodness for beta.
Disclaimer: All Ron Moore's. Title and summary from Beth Orton.
Summary: and I wanted so desperately to say / that you could trust me, but I was lying anyway


There are nine different muscles that move the shoulder, and Gina can name all of them. Her fingers sweep from the nape of Helena's neck down along the column of her spine and back up, and she runs through each of them in order as she digs her thumbs in. And then Helena moans and turns her head, and the elegant column of her neck rotates, and Gina loses her place.

She digs her thumbs into Helena's trapezius, loosening a knot, and knows that the pressure will make Helena arch back and gasp as the pain sharpens, then dissipates. This is not knowledge she was given, not facts that came with her out of the resurrection tank, not a reaction that she could reliably expect to draw forth from any other human woman she might lay her hands on. No, this is something she has learned, a mystery she has uncovered further each night as she watched her touch raise goosebumps across Helena's bare back in the dim light. This is understanding, bone deep, that she has worked for; this is proof that the human creature is never quite as simple as it seems.

Helena's hair tumbles in loose waves over her shoulders, and Gina gathers it in one hand, dragging the ends across Helena's bare skin and watching her shiver. Gina is endlessly surprised by how responsive Helena – well, all humans, but Helena in particular – is to stimuli. And she is kept endlessly busy cataloguing those responses, understanding them and how to elicit them again.

Gina will never admit it, but Helena fascinates her. Humans are made up of infinite contradictions, and Helena no less so, but something about her is sharper, more focused, than any others Gina has encountered. She has an intensity of purpose that rivals Gina's own; in a way, Gina thinks, they are well suited to each other.

She settles back on her heels, knees gripping Helena's narrow hips, and begins work on the tense muscles of Helena's lower back. If she paid attention, she could feel the play of her own muscles over bone, track the movements of each tendon and ligament. Instead, she focuses on Helena's – the prototype on which hers were modelled, and yet so unfinished, so incapable of bearing the load Helena asks of them.

Humans are so easy to cripple, Gina thinks. The fragility of their very bodies endangers them in a way few seem to realize.

If anyone understands vulnerability and how to avoid it, though, it is Helena.

Gina shifts her weight back and moves down. She kneads Helena's gluteal muscles (maximus, medius, minimus) through the military-issue underwear and smiles, feeling deservedly proud of herself for making it this far, getting to know Helena well enough to slip around her most private defences. It hasn't been easy, she knows, from comparing her mission to those that other Sixes have undertaken.

Helena is not a woman who trusts quickly.

Only when Gina's interest sharpened, deepened into an awareness of Helena's body and the way she moved, only when that became obvious did Helena unbend somewhat. It made sense to her, Gina understands later, more sense than a friendship with no obvious desires behind it. If Gina wanted her body, her strength, Helena had a place for that; if Gina wanted her companionship, that was uncertain ground.

The longer she spends in Helena's life, in Helena's bed, the more she regrets that their relationship is predestined to end. No, not that, or not just that – she regrets knowing, practically feeling the countdown as they creep closer and closer to that end date. She finds herself wanting more - strange, because when the attack comes, the cylons will have everything. And yet Gina feels that without Helena, she will find her paradise lacking.

She knows that what she is doing is right. She has never had any doubts about the strength of God's love or the importance of the work she has been charged with. But she wishes that there was a way to convince Helena of that, to tell her the truth and make her understand the deeper meaning behind their relationship.

It is never going to happen. Gina knows that, knows this is all she can have. But she still wishes that it was possible to ease the pain she will both cause and endure.

Helena has been betrayed by friends before, Gina thinks, but perhaps never by a lover. She does not want to know what Helena would be like were she to uncover this deception, but she will never need to find out. Even if Helena survives the coming attack by some miracle, Gina will be far away, downloaded into another body, and – she doesn't think 'safe,' because it is impossible to think of a human truly being a threat to any cylon – out of range, at least, of the cruel bite of Helena's disappointment.

Now, though, she is here in this body, and Helena is neither dead nor displeased. Now it is not only her mission to maintain Helena's trust, but her pleasure to curl up with her and enjoy the way she blushes. Gina watches the way Helena's muscles twitch under her warm skin as she squirms, and recognises yet another sign, one she has seen and understood a number of times.

Helena turns over beneath Gina and smiles. She's not relaxed – she might never truly relax; she could be mentally running through the crew roster – but she is as close as she ever allows herself to be, and that only ever happens with Gina.

"Come here," Helena says, but not like she's giving orders. She still expects to be obeyed, Gina has discovered, but there is a greater ebb and flow between them when they are alone. Gina has power here as well, maybe more than she's exercised so far.

But she goes when Helena calls, leans forward and lets herself be drawn into a kiss. Different muscles flex in Helena's arms as she reaches up to cup the back of Gina's neck and pulls steadily until Gina is lying on top of her. Gina squirms until she can get her top off, and then they're pressed together, skin to skin.

Gina never expected Helena to be this gentle in bed, expected her to be as quick and harsh as she is commanding her ship – but even gentle isn't the right word, because she likes it rough, sometimes, likes leaving marks from nails and teeth, likes Gina's fingers thrusting deep inside her until she comes so hard she's wordless. Still, she likes the build-up, too: long, slow kisses, and passing her hands over Gina's skin until they're both shivering with desire.

Touch is not an indulgence Helena Cain allows herself often, Gina thinks. But when she has the chance, she luxuriates in it. And every touch is more revealing – one further chance for Gina to learn something about Helena, something she may find a use for, either here in bed or later and elsewhere.

Tonight, Helena's fingers are urgent against Gina's back and her breathing is already coming fast – signs that Gina has already learned, signs that Helena does not want it slow and languid. But Gina smiles to herself and thinks that perhaps it is time to press her advantage. Time to see how much she can get away with.

She slips back, down the bed, taking Helena's underwear with her, and wiggles into place between Helena's legs. Glancing up, she grins at the expression on Helena's face, then dips her head before Helena has a chance to say anything.

Her tongue skates across slick flesh and inside, and Helena's back arches as her hand comes to rest on Gina's head. Her nails press into the flesh of Gina's skull, flexing and releasing with the rhythm Gina sets with her tongue.

Gina has learned this too, learned to tell from the pressure of Helena's fingers when to move faster, when to flick her tongue over Helena's clit and when to slide two fingers inside her and suck gently, when to use her teeth and when to cup Helena's ass and tilt her to change the angle. She has studied Helena's reactions and responses intensely.

So when Helena's fingers tighten to the point of trembling, Gina knows what it means. Instead of moving faster, though, she slows, slips her tongue away from Helena's clit and down to where she is wettest, teasing there. She does not want to end this so quickly.

Helena makes a frustrated noise and grinds down against Gina's face, but Gina rests one hand against her hips and holds her still – gently, but firmly enough. She draws her other hand around and slides two fingers into Helena. She moves slowly, again, too slowly, and teases with her tongue too lightly, and Helena's grasp on her hair is almost – but not quite – painful.

And then she realizes that Helena is not just moaning, but speaking, and her words are low and frantic but Gina can just make them out.

" – gods dammit just frak me already harder please harder please Gina – "

And that is new and different, because Helena has never asked before, never begged so frantically, and Gina thinks this too is an important sign.

She swallows, surprised at the strength of her reaction, and presses her tongue flat where she has learned Helena likes it. Helena's head snaps back and she moans, and Gina finds she can't wait any longer either. She wants to make Helena come, and she does, tongue and teeth and fingers working in just the right way until Helena shudders around her hand and slumps back onto the bed.

When Gina moves up to kiss Helena and press sticky fingers against her skin, Helena is smiling, but there is a light in her eyes that Gina has never seen before. She is wary, unsure, almost worried.

Gina thinks that perhaps she has pushed both of them far enough.

For now.

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tellitslant: agatha making a shushing gesture (Default)
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February 2025

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