@knivesnothingtoit told you I’d write it
The bar is about as white trash as you can get. The jukebox is tinny, playing old Alan Jackson songs and Garth Brooks. Goody’s beer is sweating where it’s sitting on wooden coaster. Everything about the night is lazy, the kind of soupy slowness that only Louisiana can bring.
This isn’t the frenetic motion and sound that comes with New Orleans. This is muddy bayou comfortable, even if the fabric of his t-shirt is dark with sweat between his shoulder blades.
He hasn’t been home in a long damn while, and he’s got no intention of driving the twenty miles west that he’d need to go to see the massive house, still crisp and white against the endless blue sky.
Too many questions out that way. And nothing he can answer.
What exactly do you do for a living, Michael? I get drug dealers killed and ruin shipments of cocaine, all in the name of Uncle Sam.
How come you’re not married, Michael? Because no woman has been able to weather my waking up screaming each night. And…
His and is walking through the door right about now, a sore thumb in a sea of white men with his golden skin and ink dark hair. Billy Rocks is gorgeous in a way that none of these men will ever know in their wives or mistresses.
They’ve come a long way from the shell shocked, blood spattered Korean without a lick of English who they left him in an interrogation room with at Quantico. Goody always plays the good cop. He’s got one of those faces.
And in time, he earned Billy’s trust, just like he earned every other case’s trust.
The difference is that he wants to keep that trust, the kind of loyalty he once felt to the Central Intelligence Agency stirring in his gut. It’s a dangerous thing to feel for a man like him. He’s supposed to be dead inside. That’s the only way you did this job.
Billy takes the bar stool next to him, a quick smirk at the edges of his lips, but otherwise he ignores him.
Because no one suspects it when Goody takes the elevator up to the fifth floor and Billy is waiting in the shadows. They hit the hotel room door with the force of two bodies, lips and teeth and frantic tongue.
Billy kisses like he fights.
Goody’s cheap linen shirt is discarded once they get the keycard in the door. It’s tossed over the end table, his belt yanked free of his pants and chucked over the lamp. It’s a battle to get Billy to let him pull his shirt off, revealing an expanse of warm caramel muscle that should be illegal.
“Lord have mercy.” It comes out a prayer, and Billy just laughs.
But he’s not laughing when Goody hits his knees, belt unspooled only enough to yank down Billy’s zipper, to shove a hand into his boxers and pull his cock out, swallowing the half hard skin down like a man starved.
Billy’s quiet in the bedroom, even as he stumbles backwards, hands on the air conditioning unit for leverage as Goodnight clamps hands down on his hips and takes him deep enough to yank a wet gag out of him.
Warm fingers brushing his cheek, and Billy murmuring ‘don’t hurt yourself’. It doesn’t stop his hips from rolling forward, lazy and sinful.
Billy is his church, and Goodnight worships with everything he’s got, lashes dark against his hollowed cheeks. There’s a desperation in him when he’s down here that he can’t find anywhere else in his life, a need that burrows through his shell of indifference.
When Billy gets close, his breath hitches and speeds up. Goody doesn’t need the warning, doesn’t care if he gets one or not, salty heat against his tongue and he moans at the feel of it, Billy shuddering where he’s pushing into his slack mouth, one hand in salt and peppered dusted hair.
Goodnight doesn’t let him return the favor. He never does.. He likes this thin thread of tension. (Too afraid to break it, to say something he shouldn’t when he’s lost in the throes.)
He leaves the hotel first, no looking back and a meandering path through town, just in case he’s being followed.
You gotta be careful, when you’re being this reckless.