I saw your earlier post about slasher films/horror movie killers and I just- Brahms from the Boy. Gimme that goodness
This post will contain spoilers! I guess I’ll use this post to set up how I would write a Brahms x protagonist series. If anyone else would like something similar to this with Brahms or other characters, just let me know! I didn’t even get the more saucy parts with this. I rambled long enough!
Ah, greasy killers. My weakness.
Let’s say that the movie didn’t happen (or ended poorly for Greta) and the parents are still searching for a nanny. The protagonist has been looking for a job that’s more relaxed and isn’t retail. Kids really seem to like her so she gives it a shot.
She’s a little unnerved by the kid being a doll, but doesn’t question it. If anything, it makes the job easier. She’s more than willing to follow the rules. She’ll still have plenty of time to herself, so she’s pretty much house sitting.
Brahms approves more enthusiastically than usual. His other nannies were selfish and didn’t care about him. This one seems different.
No guests. Not a problem. The protagonist isn’t very sociable. She’s honestly relieved that Brahms is just a doll. Because of this, she doesn’t get cabin fever the same way the nannies before her did. She’ll wander around the house and has fun exploring. She also brought a lot of things for her to do or make in the meantime, and she’ll order more things to the house. Dollhouse kits, cross-stitching and embroidery kits, books, more records, anything that can keep her busy. Some mornings, she’ll find that things aren’t in the place she left them. Items that were too tiny for her to make right will disappear, then reappear in even better condition.
Never leave Brahms alone. It takes some getting used to. She’ll get up to grab something, only to hear a creak from somewhere nearby. It’s a reminder, from the real Brahms, to not forget about the doll. If she doesn’t hear or goes to leave, he’ll call after her in a soft, high voice. It’ll make her jump every time. She’ll cautiously approach the doll, knowing that it doesn’t talk. She doesn’t believe in ghosts, so she worries that being alone is making her mind play tricks on her.
Save meals in the freezer. Easy. She’ll sit with the doll while she eats. She’ll leave clean utensils and a napkin on the table, though they’re never used. When the food disappears, she worries about rats at first. When it keeps disappearing, she knows something else is going on.
Never cover Brahms’ face. This is something that the protagonist twists the rules on. When she starts to fear that there’s something wrong with the house and the doll, she’ll offer to play a game with Brahms. She’ll cover eyes and keeping them covered until he knocks three times. The first time, nothing happens. It’s too easy for her to peek. She tries again, this time covering her eyes with a blindfold and placing her hands on the table in front of her. She’s scared, but she needs to know what’s going on in order to deal with it. This is when Brahms is willing to come out from the walls and have a proper look at her (when she’s still awake).
Read a bedtime story. The protagonist sets up a nice routine. She’ll undress the doll, clean it, and then redress it in pyjamas. Then she’ll tuck it into bed and read it a story. At first she chooses from his collection. Eventually, she reads the books she’s brought. This is when the house is quietest. All of the creaking and groaning of the house stops, as if the house itself is hanging on her every word. She makes sure to talk clearly, and even gives characters different voices.
Play music loud. She’ll leave records on. On the rare occasion that she’s lonely, she’ll dance with the doll. If she wakes up in the middle of the next night, she’ll hear strange tapping noises. It’s Brahms. He’s practicing his footwork. If he has a doll fashioned to look like her, he’ll dance with it.
Clean the traps. Probably the hardest rule for her. She doesn’t like touching the dead rats. She ends up buying some kill-free traps, explaining to the doll that she’s going to catch them and release them far away from the house. Brahms breaks the traps overnight. He leaves the list of rules, reminding her why the no-kill traps won’t work.
Only Malcolm brings deliveries. The protagonist doesn’t mind. She’s awkward around Malcolm, though. She isn’t sure how friendly she should be with him. She’s still very polite. Brahms is always nearby when there’s a delivery. Some of the previous nannies were a bit too friendly with Malcolm. He likes that she shows his doll more care and attention than Malcolm.
Brahms is to never leave. This causes some problems. Sometimes the protagonist wants to get some fresh air and walk around the property. She’ll compromise by having Brahms sit in a sun room or something similar while she sits outside. Brahms doesn’t like this. All of his passages lead to rooms in the house, not outside. He can’t watch her as well, and he worries that she’ll leave. He’ll hide the doll somewhere deep in the house. She’ll immediately start looking for it when she comes inside, allowing the real Brahms to lock all of the doors and windows.
Kiss goodnight. It’s fine at first. She’ll tuck him in, kiss the doll’s forehead, and then go to her own room. When things start happening in the house, she’ll become hesitant. She’ll say that she’s not feeling well and doesn’t want him to get sick, but a creak in the house or a quiet “Kiss?” will persuade her. Brahms will watch each time, peering from inside the walls. Eventually he won’t be satisfied with a kiss on the forehead. When she goes to leave, she’ll hear another “Kiss?”. When she finally kisses the doll on the mouth, the real Brahms will touch the porcelain lips of his mask. He won’t be able to sleep well for the next few nights. He’ll be too busy thinking about her kiss.
