![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
[It all comes down to a single phrase: "plausible deniability." Veronica had insisted upon a business that wouldn't be run illegally—had known what it would take to get there. For her, it isn't long before she realizes that to have that deniability, she has to have some meat shields standing in her way. She has to have people who are willing to bend over backwards, able to incite loyalty in people—
And she has to do it without involving Archie. Her father thinks she's foolish. If he can't be trusted to be involved in Lodge Industries, then he should be used. Hiram tries to remind her of this every day, and she insists that Archie is off limits. Her father got to him once. Isn't that enough?
Apparently not.
Before long, Veronica's schemes are trailing behind her father's. For all the honesty and agreements between them, she knows she's just on the other side of the chessboard trying to keep him in check. The problem is that she hasn't posed much of a threat. Not yet. And she knows that the way things are going, eventually Fred and Archie Andrews will either have to be all in or cleared off the board.
Veronica tries.
She tries.
And along the way, there is so much deniability until she calls Archie over. Her father? Her mother? Gone on a business trip to Los Angeles. Apparently they want to beckon some investors to come over and consider shooting in a sleepy town like Riverdale. Apparently it's inspiring—and, of course, Lodge Industries would be influencing them. Behind it, she knows that it's just another front, another sketchy and skeevy way of ensuring that the Lodges own Riverdale.
So, that's why Archie's on his way. Veronica knows that the Andrews never wanted to be the one barricade between the doom and gloom of a Hiram Lodge World, but here it is. Maybe she should be talking to his father, but—well. Something tells her that she has to win over Archie first.
Like her father, Veronica has a flair for the dramatic. When Archie arrives, Andre will direct him to the Lodge study. Within, Veronica will be waiting—complete with her father's favorite chess set prepared for a game on his desk. The rum is already in her glass, and she's waiting.
Veronica knows that if this move doesn't result in a checkmate, Archie Andrews may never live to see graduation.
It's a risk she has to take.
After all, Archie's life is on the line regardless.]
And she has to do it without involving Archie. Her father thinks she's foolish. If he can't be trusted to be involved in Lodge Industries, then he should be used. Hiram tries to remind her of this every day, and she insists that Archie is off limits. Her father got to him once. Isn't that enough?
Apparently not.
Before long, Veronica's schemes are trailing behind her father's. For all the honesty and agreements between them, she knows she's just on the other side of the chessboard trying to keep him in check. The problem is that she hasn't posed much of a threat. Not yet. And she knows that the way things are going, eventually Fred and Archie Andrews will either have to be all in or cleared off the board.
Veronica tries.
She tries.
And along the way, there is so much deniability until she calls Archie over. Her father? Her mother? Gone on a business trip to Los Angeles. Apparently they want to beckon some investors to come over and consider shooting in a sleepy town like Riverdale. Apparently it's inspiring—and, of course, Lodge Industries would be influencing them. Behind it, she knows that it's just another front, another sketchy and skeevy way of ensuring that the Lodges own Riverdale.
So, that's why Archie's on his way. Veronica knows that the Andrews never wanted to be the one barricade between the doom and gloom of a Hiram Lodge World, but here it is. Maybe she should be talking to his father, but—well. Something tells her that she has to win over Archie first.
Like her father, Veronica has a flair for the dramatic. When Archie arrives, Andre will direct him to the Lodge study. Within, Veronica will be waiting—complete with her father's favorite chess set prepared for a game on his desk. The rum is already in her glass, and she's waiting.
Veronica knows that if this move doesn't result in a checkmate, Archie Andrews may never live to see graduation.
It's a risk she has to take.
After all, Archie's life is on the line regardless.]
[Honestly, they should all give Cheryl some credit. Instead of setting a fire to their holiday spirit, she decided to wait until Christmas was over and they were all back in school to cause problems. She lasted ... oh, about five minutes on campus before she sauntered over, sat down next to a previously kissing Veronica and Archie, and informed them of the brief kiss between Archie and Betty right in front of her house.
Right after they antagonized poor Nana Rose Blossom.
Maybe they were just caught up in the moment, in the adrenaline of the hunt. Or maybe ... well, it's not like it was hard to guess that a girl like Veronica Lodge would be failing in a few areas when it comes to a simple boy like Archie Andrews.
As it is (as it was—they're now sitting in the Blue and Gold after school, trying to ignore the inevitability of Betty and Jughead possibly turning up), the two of them couldn't and aren't as hot and heavy. Veronica has positioned herself as far away from Archie as possible. Her chair remains turned. Her eyes focus on some ... messy collection of articles on the wall, some weird indication of whatever wild mystery Betty is going for next.
Her best friend.
Veronica knows that if this were a cliché love story, she would be chasing Betty down and wrecking their friendship. She'd rather not be a cliché right now, caught in some ridiculous romantic comedy where she's shallow rich girl trope who could never make it in a smalltown with the cutest boy because he always had a girl next door. She never even ... worried about heading down that path.
She finally turns toward him.]
It ... never occurred to you to tell me that happened? I showed up at your house on Christmas Day. It was—we barely left each other's sides, and you thought you could just leave out that you kissed our ... now oddly mutual best friend? [Never mind that they were broken up. Never mind any of it. To her, she felt so raw, and she remembers the pull of Archie's hand when she tried to reconnect. And on her end, she just ... dove headfirst into her father's business all in an effort to find a way to help Archie.
Not that she's mentioned any of that. Archie is too good to know what she's gotten herself into, and she can't ask him to accept it.]
Right after they antagonized poor Nana Rose Blossom.
Maybe they were just caught up in the moment, in the adrenaline of the hunt. Or maybe ... well, it's not like it was hard to guess that a girl like Veronica Lodge would be failing in a few areas when it comes to a simple boy like Archie Andrews.
As it is (as it was—they're now sitting in the Blue and Gold after school, trying to ignore the inevitability of Betty and Jughead possibly turning up), the two of them couldn't and aren't as hot and heavy. Veronica has positioned herself as far away from Archie as possible. Her chair remains turned. Her eyes focus on some ... messy collection of articles on the wall, some weird indication of whatever wild mystery Betty is going for next.
Her best friend.
Veronica knows that if this were a cliché love story, she would be chasing Betty down and wrecking their friendship. She'd rather not be a cliché right now, caught in some ridiculous romantic comedy where she's shallow rich girl trope who could never make it in a smalltown with the cutest boy because he always had a girl next door. She never even ... worried about heading down that path.
She finally turns toward him.]
It ... never occurred to you to tell me that happened? I showed up at your house on Christmas Day. It was—we barely left each other's sides, and you thought you could just leave out that you kissed our ... now oddly mutual best friend? [Never mind that they were broken up. Never mind any of it. To her, she felt so raw, and she remembers the pull of Archie's hand when she tried to reconnect. And on her end, she just ... dove headfirst into her father's business all in an effort to find a way to help Archie.
Not that she's mentioned any of that. Archie is too good to know what she's gotten herself into, and she can't ask him to accept it.]
[ As usual, Archie can't figure out exactly what Cheryl's motivation had been. But she'd plunked down and gleefully dragged out Archie's secret for Veronica's benefit. It serves him right for not telling Veronica in the first place but he'd thought—
Well, he doesn't really know what his plan had been. Veronica turning up on his doorstep had felt like a dream. Archie hadn't even figured out what had happened in the car with Betty himself at that point. He didn't have the first clue about how to start admitting what happened to Veronica. He'd thought, maybe just give them Christmas Day before he tried to admit what happened to her. Wedging it in under the mistletoe had felt impossible.
And if he's honest, he'd chickened out. He'd tried but every time he'd opened his mouth, he'd gotten cold feet. Now the truth's out, in the worst way possible. Veronica doesn't have to tell him anything. She's curled in on herself, silently rebuffing any attempts at physical contact. She'd barely looked at him before now. Archie's still at a loss, but he knows that I don't know isn't going to cut it any more than I tried will. But he doesn't have anything else. It's the truth, as much as the recitation of events Cheryl had laid for them had been. ]
It wasn't like that, Veronica. It wasn't.
[ Cheryl had made it sound salacious, almost. It hadn't felt that way when they'd been enclosed in the car together. Betty had been spinning out and Archie had wrenched her back on track. And then— ]
I wanted to tell you. I tried so many times but I just couldn't... [ Archie hesitates, watching her face, before finishing lamely, ] I didn't know how.
Well, he doesn't really know what his plan had been. Veronica turning up on his doorstep had felt like a dream. Archie hadn't even figured out what had happened in the car with Betty himself at that point. He didn't have the first clue about how to start admitting what happened to Veronica. He'd thought, maybe just give them Christmas Day before he tried to admit what happened to her. Wedging it in under the mistletoe had felt impossible.
And if he's honest, he'd chickened out. He'd tried but every time he'd opened his mouth, he'd gotten cold feet. Now the truth's out, in the worst way possible. Veronica doesn't have to tell him anything. She's curled in on herself, silently rebuffing any attempts at physical contact. She'd barely looked at him before now. Archie's still at a loss, but he knows that I don't know isn't going to cut it any more than I tried will. But he doesn't have anything else. It's the truth, as much as the recitation of events Cheryl had laid for them had been. ]
It wasn't like that, Veronica. It wasn't.
[ Cheryl had made it sound salacious, almost. It hadn't felt that way when they'd been enclosed in the car together. Betty had been spinning out and Archie had wrenched her back on track. And then— ]
I wanted to tell you. I tried so many times but I just couldn't... [ Archie hesitates, watching her face, before finishing lamely, ] I didn't know how.
[ Something's up with Ronnie, Archie had said, stretched out on his bed, Jughead's legs over Archie's as he clacked away at his laptop. There hadn't been anything else to follow that statement. Archie just knew something was off, but he couldn't tell what. Jughead's answering hum had been thoughtful but ultimately noncommittal. Compared to trying to wrestle an entire gang away from more damaging criminal enterprises, vague weirdness with Veronica probably didn't rate. So the topic just hovers at the edge of his consciousness, where Archie picks at it but ultimately lets it alone.
Veronica's helping run her parents company. Pushing too hard feels the same way running out on the ice after Cheryl had: dangerous, everything a breath away from shattering under his feet. Selfishly, Archie doesn't want to do anything to fuel that possibility.
But even after all his careful avoidance, the issue still feels primed to come to a head. Veronica's asked him over when her parents are away more than once, but it's different this time. As he walks into the study and takes her in, he's aware of how weighted the moment feels. Veronica looks so serious that Archie knows immediately she didn't bring him here for their usual tryst. ]
What's up, Ronnie?
[ Instead of taking the seat on the other side of the board, Archie walks to her instead to kiss the top of her head. ]
You want to take that up to your room?
[ Take the drink, leave the chessboard. Stave off whatever's about to happen in doing so. ]
Veronica's helping run her parents company. Pushing too hard feels the same way running out on the ice after Cheryl had: dangerous, everything a breath away from shattering under his feet. Selfishly, Archie doesn't want to do anything to fuel that possibility.
But even after all his careful avoidance, the issue still feels primed to come to a head. Veronica's asked him over when her parents are away more than once, but it's different this time. As he walks into the study and takes her in, he's aware of how weighted the moment feels. Veronica looks so serious that Archie knows immediately she didn't bring him here for their usual tryst. ]
What's up, Ronnie?
[ Instead of taking the seat on the other side of the board, Archie walks to her instead to kiss the top of her head. ]
You want to take that up to your room?
[ Take the drink, leave the chessboard. Stave off whatever's about to happen in doing so. ]
[The wound is fresh enough that even if Veronica wanted to do something about it, she knows that she couldn't. She can't even look at him. Some part of her wants to raise hell and rain fury down on Betty and Archie's heads, but the other part of her can't bring herself to do it. She loves the two of them too much. Even when Betty had gone all Benedict on her, she couldn't bring herself to retaliate. A few snide remarks wasn't retaliation as far as Veronica was concerned.]
Were you not able to tell me because it meant something? Because ... honestly, Archie. That's the only way where this makes any sense. [Veronica doesn't know if she wants it to have meant something. Is it fair to throw Archie's inability to piece something together in his face when she needed time to handle his "I love you" remark?
And she still knows that a part of her confession was due to needing that goodness in her life. Suddenly feeling as if she had lost all of that made her want it back. She knew that how she defined goodness was Archie. And no one else.]
Were you not able to tell me because it meant something? Because ... honestly, Archie. That's the only way where this makes any sense. [Veronica doesn't know if she wants it to have meant something. Is it fair to throw Archie's inability to piece something together in his face when she needed time to handle his "I love you" remark?
And she still knows that a part of her confession was due to needing that goodness in her life. Suddenly feeling as if she had lost all of that made her want it back. She knew that how she defined goodness was Archie. And no one else.]
[There's that goodness again. Veronica wonders if it's genetic. Is it something that only one family in a town like this can acquire? Even the Kellers don't seem permanently predisposed toward goodness. Kevin, for one thing, has taken to side trysts with Moose while Midge is still very much his girlfriend. If that's not a sign of some ambiguity than nothing is.
She reaches out to take Archie's hand, gripping it for a moment.]
I'd love that, Archie, but not right now. I figured I'd ... set the scene for you. [Plus, it gives her quick access to some of her father's paperwork. She knows there are still pieces of information hidden away from her, and it's only a matter of time before she has to unearth them. She also knows that it's only a matter of time before she has to reveal some of the messed up things she's had to do.]
For now ... [Veronica pulls her hand away. It isn't a sign of rejection.] Sit, s'il te plaît. Daddy's study is unfortunately the best place to really begin.
She reaches out to take Archie's hand, gripping it for a moment.]
I'd love that, Archie, but not right now. I figured I'd ... set the scene for you. [Plus, it gives her quick access to some of her father's paperwork. She knows there are still pieces of information hidden away from her, and it's only a matter of time before she has to unearth them. She also knows that it's only a matter of time before she has to reveal some of the messed up things she's had to do.]
For now ... [Veronica pulls her hand away. It isn't a sign of rejection.] Sit, s'il te plaît. Daddy's study is unfortunately the best place to really begin.
[ cont. from here ]
Oh, Veronica, don't fret.
My affair with your little Archie was all business and I have already forgotten the encounter.
This is something else entirely.
Oh, Veronica, don't fret.
My affair with your little Archie was all business and I have already forgotten the encounter.
This is something else entirely.
Since you're overemotional and seem to be into that whole "sharing" thing, I figured you might be the best person to approach.
You just have to promise not to tell anyone about this conversation.
Not even Straight A Barbie.
You just have to promise not to tell anyone about this conversation.
Not even Straight A Barbie.
I'll do two things for you. First, I won't tell Betty. Second, I'll kindly ignore your obvious disregard for your own penchant for extreme bouts of melodrama as long as you get to the point.
Fine.
I was thinking, the other day, of what my life was like before and after the whole Jason thing happened.
And ignoring the obvious, which consists of everything I ever knew being a horrible lie and the one person who ever truly understood me was cruelly taken away from me.
Besides that, there was another major difference between then and now.
I was thinking, the other day, of what my life was like before and after the whole Jason thing happened.
And ignoring the obvious, which consists of everything I ever knew being a horrible lie and the one person who ever truly understood me was cruelly taken away from me.
Besides that, there was another major difference between then and now.
I can think of a lot of differences. You've been through a lot.
You were one of the things that weren't around in the before picture.
And I admit, we have a turbulent relationship.
Half of the time I want to strangle you with your pearls, but there are other times where you have been very good to me in a way that I don't think anyone else would have.
And I admit, we have a turbulent relationship.
Half of the time I want to strangle you with your pearls, but there are other times where you have been very good to me in a way that I don't think anyone else would have.
Cheryl.
Are you certain you want to do this through text?
Are you certain you want to do this through text?
Edited 2018-01-25 06:52 (UTC)
I weighed the pros and cons.
Text seemed to be the option that would be less likely to result in that whole ugly crying nonsense.
I don't mean me, since nothing I do is ugly, but you get what I mean here.
Text seemed to be the option that would be less likely to result in that whole ugly crying nonsense.
I don't mean me, since nothing I do is ugly, but you get what I mean here.
[Uh huh.]
Come over to the Pembrooke. Both parental units are currently out. We'll have privacy.
[And it beats going over to the creepy Blossom house which, these days, is even creepier in precisely how empty it happens to be.]
Come over to the Pembrooke. Both parental units are currently out. We'll have privacy.
[And it beats going over to the creepy Blossom house which, these days, is even creepier in precisely how empty it happens to be.]
[ there's a pause before her reply. it's obvious that she's currently debating on whether to accept the offer or not. ]
As long as they won't be able any time soon. I still remember your mother's reaction the last time she found me there.
I'll be there in an hour.
As long as they won't be able any time soon. I still remember your mother's reaction the last time she found me there.
I'll be there in an hour.
My mother has been preoccupied lately. Don't worry about that.
Of course.
[ it's a little less than an hour, but cheryl does arrive like she said she would. it probably would have been better if she had arrived sooner, because she has had time to reconsider her fight or flight response on the way here. ]
Veronica.
[ it's a little less than an hour, but cheryl does arrive like she said she would. it probably would have been better if she had arrived sooner, because she has had time to reconsider her fight or flight response on the way here. ]
Veronica.
[During that time, Veronica considers calling Archie. It would be right, wouldn't it? But she can't bring herself to do it. Another secret. In this case, it's likely to remain nothing more than that. The whole ordeal is ... well, it's been almost an hour. She still hasn't adjusted.
She offers Cheryl a smile—the type that's strained, like she's unsure how to feel. And then she motions for her to join her on the loveseat that's not far from their fireplace.]
Come. Sit. We'll worry about drinks in a bit. [They could both probably use one.
In a bit.]
She offers Cheryl a smile—the type that's strained, like she's unsure how to feel. And then she motions for her to join her on the loveseat that's not far from their fireplace.]
Come. Sit. We'll worry about drinks in a bit. [They could both probably use one.
In a bit.]
[ cheryl gives a small nod before settling down next to her. she leaves a space between them, but that at least probably isn't too surprising.
this is why she sent the text. emotions can get a lot more... real when you include things like body language and facial expressions. it's much neater when you can set your phone down before responding. ]
I assume what you have to offer is satisfactory for my tastes.
[ cheryl knows that they are, but she's also retracting from the point here. ]
this is why she sent the text. emotions can get a lot more... real when you include things like body language and facial expressions. it's much neater when you can set your phone down before responding. ]
I assume what you have to offer is satisfactory for my tastes.
[ cheryl knows that they are, but she's also retracting from the point here. ]
You're in the house of the Lodge family. We have our own vintage rum. [Veronica is well aware that it's stalling. There's a hint of impatience to her voice, something that's almost unavoidable considering.]
But we're not here to discuss Daddy's makeshift wine cellar and you know that as well as I do.
But we're not here to discuss Daddy's makeshift wine cellar and you know that as well as I do.
It wouldn't kill you to play along.
[ but she doesn't argue against veronica's point past that. she straightens out her back, trying not to get too comfortable on the couch in case she needs to make a quick getaway. ]
Veronica. These past few months have been... tremendously difficult for a lot of people, but primarily me, as I'm sure you have noticed.
[ but she doesn't argue against veronica's point past that. she straightens out her back, trying not to get too comfortable on the couch in case she needs to make a quick getaway. ]
Veronica. These past few months have been... tremendously difficult for a lot of people, but primarily me, as I'm sure you have noticed.
I'm well aware. At the heart of everything that's happened, you've been a touchstone for ... a number of things. And even if it didn't always benefit you, you were willing to help. I understand what it meant to confront some of those things.
[The issue of the Sugarman. The issue of her father. The issue of, well, Nick St. Clair.
It's a long list. Too long.]
[The issue of the Sugarman. The issue of her father. The issue of, well, Nick St. Clair.
It's a long list. Too long.]
Page 2 of 3