A collection of snippets revolving around "Camteen/Cadley" from both women's perspectives. Not all are romantic, and some only feature one of the two.
Disclaimer: Don't own anything or anyone.
R is for Red
Cameron has always been a loving person, a selfless person. She married a dying man and risked her life for a colleague who would never take her seriously. Even her new job as the head of the ER was a result of supporting her other colleague. Not that she minds of course, Chase is what her mother would call a "nice boy."
No, Cameron has never been a cruel or selfish person, which is why she finds herself so shocked by the merciless torment she inflicts upon her replacement.
Maybe it's the chance to momentarily shatter the other woman's cool confidence, or simply that Thirteen reminds her a little too much of the other blue eyed, broken hearted genius she fell in love with.
Those who notice, and House always notices, think that the ER doctor is simply jealous, and let's face it, there's plenty to be jealous about when looking at Thirteen.
But Cameron knows it's the shy aversion of her usually confident gaze and the sprinkling of red that colours Remy Hadley's cheeks with every touch that has her addicted.
E is for Ego
Doctors are egotistical. They save lives, on some level they have a right to be. Cameron is the only exception to this rule, whilst House is the absolute proof.
Maybe that's what Cameron finds so undeniably sexy about her, that cool, almost House like arrogance that never quite seems out of place.
So when she whispers "you'll love this" in that husky voice of hers, sounding so certain, so sensual, that Cameron starts to melt inside long before agile fingers start to prove their owner right.
Because, despite what people say, ego is sexy. Cameron and Cuddy know this well.
M is for Magic
You've never believed in magic, in all honesty you're just not that sort of person. Anyway, your Mother dying while you were still so young put a stop to any foolish thoughts of magic and fairytales you may otherwise have clung to.
Your introduction into the world of science only served to further your belief in the logical, the rational, opening up a gaping chasm between you and things only Kutner could ever believe in.
However, when Allison presses soft kisses against your throat, her arms wrapped tightly around your waist and the soft silk of the bed sheets cocoons your bodies together your mind goes blank. Then, when her lips trail up your throat, nibbling on your ear and whispering those three words, all you can believe in is magic.
Y is for Youth
You discover quickly, as all adolescents do, that the only thing that spreads more quickly around a school than disease is gossip. Hospitals, funnily enough, are exactly the same. Admittedly, the spread of disease within the hospital is actively combated with almost as much enthusiasm as the rumour mill is encouraged, but, whatever the reason, it takes but a few short hours for news of Thirteen's Mother to spread like wildfire.
It is for this reason that you spend the next few weeks feeling sorry for the younger doctor. You had a happy childhood, filled with smiles and laughter, and your Mother lives with your Father in a house just outside the borders of Ohio. No one should lose their Mother so young, and it makes you feel guilty that yours is still alive.
It is for this reason that Thirteen corners you in the changing rooms after work, her dark eyes boring into you as she angrily declares that she doesn't want your pity. That you don't understand her death sentence.
You never quite figured out whether it was the way her whole body seemed to soften as she walked away, or the broken whisper of "No one ever sees me" that she obviously didn't intend for you to hear. What you do know is that this is the exact moment that you realised that, at 25, Remy Hadley is also too young to be dying.
H is for Hope
You had a lot to hope for as a child. Most of those hopes (and fears) centred around your Mother and, like the deadly genetic sequence itself, those hopes were the same ones you held for yourself when she died. Most of them anyway.
In contrast, Cameron never hoped for much as a child. You initially expressed your doubts about this, but realised quickly that Allison never needed to wish for anything. She was a pretty little girl who lived in a pretty little house and got pretty little things. She didn't need hope, she had certainty.
It was only with her first husband's impending death that Cameron too learned to hope for the impossible. You have that in common.
A is for Audacity
There are a lot of things people find attractive about Thirteen, from her eyes to her figure, no one would deny that she was an incredibly attractive woman. In fact, the only point of debate within this long accepted fact was which aspect of Dr Hadley was most alluring. Her eyes were dark and mysterious, yet playful, with a hint of sadness, her cheekbones were perfectly sculpted, and the slow, sensual smile that graced her lips was sinfully delicious.
But for Cameron is was the sheer audacity of the woman, pushing her older counterpart back against the wall of the on call room and kissing her with such hungry passion that the blonde doctor's surprise and anger melted into fuel for the desire raging throughout her body.
"Who do you think you are" she had hissed breathlessly.
Glittering eyes accompanied Thirteen's smirk.
"They call me Thirteen" the younger doctor had offered lazily as she sauntered out the door.
D is for Death
When you were a child you thought death was like a shadow, purely because that was how it was always described.
But shadows require the presence of light, and your Mother's death brought anything but light to your home. You used to stare at the sun, your eyes squinting against the light as you waited for the shadows and tried to block the screaming from your mind.
There hasn't been a lot of sun in Princeton recently, and while your heart tells you that love can conquer all, your mind begins to wonder what Allison will stare at when she's wishing you away.
L is for Lightening
If you had to pick something that represented her, you'd pick lightening, although you have to admit "Thirteen" certainly hits the mark, it's so... (unlucky, unusual, strong) intangible. Not that you'd recommend touching lightening of course, you're not even sure is you could. And that, in part, is the reason. At least that's what you think.
Lightening is bright, and brilliant and beautiful; it produces such a contrast against the dullness of its surroundings.
You never hear lightening coming either (this makes you smirk, despite the seriousness of your reflection) it's always the thunder, that other accompanying force, that loudly announces their arrival, yet it is the lightening which holds your attention.
You're sure, if you did touch the lightening (casting away your fears for pure recklessness, just once) that the feeling would be so intense, so brilliant, that the greyness of the day, the childish whine of the wind and the demanding crack of thunder would just fade into the background. And, when your fingertips extend to brush her lips, the feeling is electric.
E is for eyes
With Cameron's first husband, it was his nose. Admittedly it wasn't a particularly sexy feature, but she found the way it crinkled as he laughed simply adorable. It gave him a look of such childish innocence, even as the life drained out of his eyes.
With Joe it was his arms, strong, secure and protective. His arms provided a fortress when that nose failed to crinkle at her feeble jokes.
House had (has, she guesses) nice hands. Large and masculine, with a dexterity and lightness of touch she'd never have expected from him. She always felt pathetically girlish about it, but the rugged masculinity of those hands sent heat pooling to her stomach, and gave way to more than one daydream, the details of which Cameron swore never to tell.
It was Chase's lips that got her; they always seemed so soft, almost feminine, pretty words and gentle kisses from a pretty mouth. When the words turned sour and his pretty mouth pressed into a thin, white line, Cameron could never quite look at him in the same way.
With Remy, it's her eyes. Cameron could (did) spend hours deliberating over the colour, the shape and the length of her lashes. Not that Cameron has any objection to her lips, (or her hands for that matter) but her kisses wouldn't mean half as much if she couldn't pull away to see those mischievous blue eyes laughing down at her.
Y is for Yeaning
It started off as a vague hum against your skin, a sort of tingle that spread from somewhere deep inside until it reverberated across your entire body like the ripples on a pond. Then it was a pulse, confined to your chest this time and tugging at your heart until you force yourself out of the room, your back pressed against the door as you wait for your heartbeat to slow. You would later compare it to the feeling of approaching an orgasm, that same strenuous ache and all consuming desperation that tells you something amazing is about to devour you body and soul, that makes you yearn so intensely for that one person. After a week of House's games you begin to wonder if everyone looks at Thirteen this way.
