Law & Order: Special Victims Unit
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No more than a stone in a pasture full of stones - Elliot/Olivia. PG. 2500 words. Post-Fault. If you couldn't be a sex crimes detective, what would you be?
All Summer It Hurt to Look at You - Elliot/Kathy, Elliot/Olivia. PG. 4200 words. The summer our marriage failed we picked sage to sweeten our hot dark car.
"No," Elliot says. "Maybe tomorrow." Maybe. Maybe not. He shifts and when he looks over again, Kathy's already asleep, the sockets of her eyes deep in shadow. He's so tired it's like his head is full of cotton, but he doesn't sleep for a long time. He lies there looking at the strange shape of his shirt, draped over a chair, and thinking about the dead victim's ripped pantyhose, tangled on the ground by her body, and thinks it's a wonder he ever sleeps at all. Torn Into Pieces - Olivia Benson/Elliot Stabler. NC-17. 1400 words. Set during the episode "Ripped". (October 17, 2005)
Appeals - SVU/Veronica Mars. Alex Cabot/Logan Echolls. NC-17. 5100 words. Alex, a first year law student, is working on Aaron Echolls's latest appeal. (August 16, 2005) A Succession of Small Mistakes - Benson/Stabler. NC-17. 7800 words. Elliot and Olivia go undercover and have trouble keeping it together. Set during "Risk". Co-written with Sloanesomething. (July 25, 2005) Get A Room - Benson/Stabler. NC-17. 2000 words. Sequel to How Olivia Became a Cop, etc, the original skateboarder AU. (July 1, 2005) Accidental Cuts - Benson/Stabler. PG. 650 words. Takes place during "Victims" and "Paranoia", when Elliot was exposed to HIV. (June 22, 2005) How Olivia Became a Cop and Also Fucked Elliot a Bunch of Times - Benson/Stabler. R. 2500 words. Written for the SVU AU game - premise: they are all skateboarders. (June 3, 2005) Ways To Make Someone Else Lonelier Than You - Benson/Cassidy, implied Benson/Stabler. PG. 2200 words. Written for the SVU AU game - premise: Olivia doesn't break up with Cassidy in "Closure." (May 16, 2005) SVU of the Caribbean - Benson/Stabler. PG-13. 480 words. Written for the SVU AU game - premise: they are all pirates. (May 12, 2005) Eleison - Benson/Stabler. NC-17. 3000 words. Written for the SVU AU game - premise: Elliot is a priest and Olivia is the new principal of the Catholic school. (May 10, 2005) Improving Workplace Productivity - Benson/Stabler. NC-17. 800 words. Written for the SVU AU game - premise: Olivia and Elliot are actors on a cop show. EXTREME AU. (May 9, 2005) One of the Many Ways Elliot and Olivia Didn't Have Wild Monkey Sex, Although God Knows They Would've Had Things Gone This Way - Benson/Stabler. PG-13. 1200 words. Written for the SVU AU game - premise: Olivia is partnered with Munch instead of Elliot. (May 8, 2005) If You See A Shadow - Benson/Stabler. NC-17. 1200 words. Written for the SVU AU game - premise: in the episode "Wrath", Elliot follows Olivia himself instead of putting the security detail on her. (April 30, 2005) Love Poem - Benson/Stabler. G. 930 words. Written for the SVU AU game - premise: Elliot goes undercover in the episode "Russian Love Poem". (April 27, 2005) What The Dying Do - Alex Cabot/Tim Donovan. PG. 200 words. Post-"Loss". (April 10, 2005)
She keeps not sleeping. They're making her go to the company shrink, but it never helps, and when she sleeps she still dreams. That little boy Ryan in a pool of his own blood, and when she wakes up the cut on her neck is aching. It's scabbed over and healing, and the bruises from where she hit the ground have turned an appealing shade of green, and they buried Ryan on a cloudy day in a small oak coffin.
She closes her eyes again and says, "You catch the guy?" Her voice is heavy and she doesn't move to touch him.
The house seems very quiet, their breathing loud and ragged in the silence, and past that he can hear the wind outside, and somewhere in the distance a car door slamming shut.
This afternoon, she's talking to the son. She heard he just got out of court-ordered rehab. Again. He's only a year younger than she is.
"Yeah?" Elliot says, and he's still got that smirk, the one that doesn't quite belong to him. He's too good at this undercover stuff.
Once they've turned two corners, Elliot grabs her arm, so the momentum of her walking swings her, and then his hand is in her hair and his stubble is rasping along her lower lip, and she's happy.
He isn't worried. He isn't worried. He isn't worried.
She and Fin sit in the sunshine and watch the competition, her skateboard propped against the bench, his under one of his feet. He rolls it back and forth idly.
In the car on the way to the ME, Elliot says, "I thought you were going to break up with Cassidy."
She looks out the window. They're passing Central Park. "Yeah," she says, "I was." She can't think of anything else to say, so she just kind of shrugs, a little.The room is smoky and dim, the rum is terrible, and more than half the men there have less than half their teeth. Benson keeps her hand on her dagger.
When she looks up again, Elliot's gone, and all through lunch, she keeps thinking about the look on his face when he saw them kissing, trying to think of an adjective that describes it.
Stricken, she thinks briefly, before dismissing it. He's a priest. He wasn't stricken.
They're on take 12, and Elliot keeps flubbing his lines. He's getting more and more irritable with each mistake, responding to comments with monosyllables. She's not in this scene, so she leans back in her chair and watches Fin, who is, roll his eyes.
She doesn't mean to sleep with Elliot. He's married, he's a coworker - but it could be worse, she thinks. At least he's not her partner.
That night he knocks on her door for a good twenty minutes before she finally gives in and opens it just to stop the pounding. She turns away without inviting him in. "God, Elliot, take a hint," she mutters as she heads for the bathroom to wash her face.
Olivia isn't in favor of sending Elliot in undercover - the Russian mob is dangerous, and she doesn't trust Irina - but ultimately she doesn't have a say.