A/N: I am an AU junkie. I love them to death, and yet I've discovered that Royai ones can be extremely hard to find. So, if I can't find them, might as well write them, yeah? I've compiled a list of 63 AUs to work with (ranging from the serious to the absolutely insane), and I'm always up for requests. If you've got an idea, put it in a review, or send me a PM, and I'll reply no matter what. Expect sporadic updates, though, since I've got other projects I really should be working on.

I wasn't originally going to start with this one, but it's Oscar Night, so I couldn't resist. EDIT: Whoops, screwed up a term. All fixed now.

62. Movie Star AU

All That Glitters

Usually, the Oscars are abuzz with any number of speculations on the night's winners, but this year, there's only one topic on everyone's lips: the stunning duo that is Roy Mustang and Riza Hawkeye. It's not their debut everyone's talking about, though, since at seven years together in the business, this isn't the first awards show they've attended. It's not even the first time they've ever been nominated. It is, however, the first year that everyone knows they'll win.

Roy Mustang and Riza Hawkeye. The two actors had grown up together in a small town in the Midwest. The ink had barely dried on their high school diplomas when they moved to Hollywood to try their luck in the film industry. By all accounts, neither of them should have made it. At the very least, one of them shouldn't have. But Roy Mustang was a suave charmer and Riza Hawkeye was an old soul, and the two were damn good actors. When their first feature film was released, Hollywood was ablaze with wagging tongues.

Of course, any movie featuring two complete newcomers would be enough to make headlines, but add in the stunning performances both leads put in, and critics took notice. Watch these two, tabloids said, because they mean business.

Everyone expected them to part ways after that, of course. That's what actors did, after all. You make a film, premiere it, then you move on to something new with someone else. Not Roy and Riza. They liked to stick together, and after a few more films, casting directors seemed okay with that. No one was about to argue with the chemistry between them.

After a few years, everyone knew they were a package deal. So of course, that was when they decided to shake things up. Imagine the country's surprise when the trailer for the latest action film featured Riza Hawkeye's name…and not Roy's. Tabloids went nuts, speculating that the two had had a lover's quarrel (despite the several dozen times they'd denied such a relationship). When asked about the split, Riza smiled and shook her head, saying, "We're not 'splitting up', as you say. We've just found other genres that we'd like to explore. We'll still be working together, of course. That's never going to change."

And that was how it went. They'd release one or two films together, then take a film for themselves. Riza preferred the action/thriller flicks, since more often than not she could do her own stunts. She wouldn't accept any old script though, something she was more than happy to explain to quizzical talk show hosts. "I don't want to play a character that was originally designed to be a man," she said once. "You can't just slap a girl's name on a character and be done with it. Women are just as complex as men, and I love to be in movies that showcase that. A woman can fight just as a man can, and I like to prove that." Girls around the country took notice, and Riza became something of a role model for them.

Roy, however, was a little more eclectic in his taste. He liked to dabble. Be it sci-fi, horror, historical dramas…you name it, he was game (though he really preferred the indie films). Some day he planned on directing some films, maybe make his way up to founding his own production company. But for now, he settled for reading the scripts that no one else would.

Small-time writers loved him for this very reason, since he was their best shot at making it big. The Elric brothers were a prime example. They were relative nobodies in the film business, until they sent the script for Midnight Hour to Roy Mustang. He'd been due for a solo film that year, and theirs was the one he'd chosen. The two brothers also directed the film, and though the eldest brother—Ed—and Roy fought like cats and dogs, when the finished product took Sundance by storm, nobody said a word about the difficulties of making it. Alphonse, the younger brother, often credited Roy for their success, while Ed would simply mutter under his breath and look vaguely disgruntled. He couldn't deny, though, that Roy was the spark that lit their career (he just wouldn't admit it aloud).

Spectacular as these side projects were, there was something missing from them that could only be found in the films they made together. Their on-screen chemistry was unmatched in the entire industry—though they both adamantly denied an off-screen relationship. No one, of course, ever seemed to believe them. That didn't stop the press from asking.

Roy came close, once, to revealing the truth behind their relationship. "We're actors first," he'd said. "If we got together in real life, who knows what that would do to our chemistry?" He'd shrugged, then grinned. "Besides, we're fine the way we are."

Tabloids were quick to point out that he hadn't explicitly said that there was no desire for a relationship. In fact, his answer made it seem like the exact opposite, hadn't it?

And thus, the fire was stoked to even greater heights.

This isn't to say that either actor is flawless. They're both people, after all, and people make mistakes. They've had their ups and downs like any actor might, but this film, the one that's up for award after award….this is their career best, and no one's disputing that.

When their limo pulls up to the red carpet, excited chatter breaks out. Fingers point, people jostle, all to catch one glimpse of the talk of Hollywood. Roy climbs out first, flashing a grin and a jaunty wave to the adoring press. He reaches back as a pale gold heel hits the ground and a slim hand takes his. Riza steps out gracefully, and as soon as she's upright Roy slips a hand around her waist, and they begin their journey down the carpet.

Riza's dressed in an elegant wine-colored gown that spills down her body, hugging her curves and showing off her pale skin. Her long blonde hair is twisted up into an elegant chignon, and is held in place by sparkling hairpins. A pair of ruby red studs dot her ears, a birthday present from Roy back before they'd made it big. She likes to keep little things like this, to remind her of their roots.

Roy is dressed in an elegant tuxedo, all black and white, save for the burgundy bowtie under his neck. He likes to match her whenever they attend premieres and awards shows, not seeming to care that they only fueled the rumors regarding their relationship. Whenever he showed up wearing a tie that managed to match her dress exactly, she would roll her eyes and shake her head, but she never told him to stop.

They begin their press hopscotch down the carpet, answering questions that span across numerous topics, from who Riza is wearing (Rebecca Catalina), how they both were feeling (excited and proud), until finally, they reach two of their favorite journalists.

Maria Ross and Denny Brosch were among the first to interview Roy and Riza, back before they really made it famous. They were both kind and funny, and very dedicated to their jobs. While other reporters might be asking more superficial questions about their personal lives or their relationship, Maria and Denny liked to focus on the films. As a result, they were the two journalists who got the most access to the actors.

"Promised Day, for our viewers who don't know, is a film that depicts two soldiers caught in a war of extermination, and their struggles on and off the battlefield. Now, I just recently saw this movie," Maria says, turning from the camera to the stars, "and I couldn't help but get the feeling that this film is different from the others you've done."

Denny nods in agreement. "I heard that this movie was the most intense one you've filmed to date. Can you elaborate on that? What all did you two do to prepare for these roles?"

Riza nods for Roy to answer, and he does. They're comfortable enough answering for each other that more often than not, a question asked of one of them is answered by both. "Well, when Riza and I first accepted the roles, we sat down with Maes Hughes, the director, and we had a very intense discussion about how we wanted to portray these characters. As you know, the events in Promised Day are fictional, but the struggles these soldiers go through are very, very real. So Riza and I decided that we needed to sit down and talk with veterans who'd been on the frontlines, and who'd experienced events like that. We wanted our portrayals to reflect and honor them, in a way."

Riza adds, "The mentality was a very crucial part, of course, but we didn't think that would be enough."

"She didn't," Roy cuts in. "Let me just say right now, what we did next was all her."

Maria and Denny laugh as Riza raises one eyebrow at him. This is the dynamic that everyone knows well: the joking charmer and the serious partner who keeps him in line. "You agreed in the end," she reminds him, the turns back to the anchors. "We decided," she says, stressing the word, "that the mentality wasn't enough, that we needed to bring the physicality of being a soldier to the screen. So we stayed at an army base for a few weeks and went through a boot camp similar to what these soldiers go through."

The journalists' eyes widen. "Boot camp? Really?"

Riza shrugs. "These people go through so much in defense of our country, so why can't we get a little taste of that to help our performance?"

"That's dedication," Denny says appreciatively.

"This is what we do for a living," Roy says, shrugging. "And we want to be the best at it. So if that means going a little farther, well, then, that's what we'll do."

"Well, I really think all that hard work is going to pay off tonight," Maria says. "We wish you all the best."

After that interview, there was no one left who doubted that Roy and Riza deserved to win.

Not much attention is paid to the early awards, as everyone's waiting impatiently for the Big Four. Promised Day is up for Best Actress, Best Actor, Best Director, and Best Film. A four-way sweep was pretty much unheard of, making that night (potentially) one for the history books.

Best Actress is the first of the Big Four to come up, and there's a palpable shift in the theatre as the Armstrong sibling walk out to present. Names are called, faces shown, and movie clips played, but there's only one that everyone's waiting for.

"Riza Hawkeye," the soft, neutral tones of the announcer say, "Promised Day."

The screen cuts from a shot of Riza's face to a longshot of a large, empty room. Two women stand on either end, facing each other. Riza's dressed in combat fatigues, a gun hanging from her hands. Her costar, an actress names Solaris, is dressed in form-fitting black clothes, and appears unarmed. The body of a bulky man, also in combat fatigues, lies behind her. "Now, then, where was I?" she purrs, her sultry voice echoing through the theatre. "I think I was about to send the Lieutenant to join her superior."

Riza's character stiffens. Solaris advances slowly, her muscles rippling with a leonine grace. The camera cuts to a close up of Riza's face. There's a sharp intake of breath as Riza's eyes widen. "Wait a minute," she says, her voice shaky, and the camera cuts to the gun clasped in her trembling hands. "So when you said you'd already had to kill someone," –cut to Solaris' face—"…it can't be. You didn't!"

Cut to an extreme close up of Solaris' lips, which are curled into a cruel, unapologetic smirk. The focus switches to Riza's face once more. The kaleidoscope of emotions is gone, leaving only anger in its place. "You bitch!" she screams, and starts firing.

The screen fades to black, and light applause is scattered through the theatre. As it dies down, one of the Armstrongs starts fiddling with the envelope, and a hushed silence descends.

"And the Oscar goes to…Riza Hawkeye."

Thunderous applause breaks out as Riza stands and climbs the stage to accept her award. Roy is grinning from ear to ear, and as a camera focuses on him, he puts two fingers in his mouth and whistles, long and loud. Those around him look on with smiles on their faces.

Riza gives a humble smile as she stands at the podium. "Thank you so much," she says, her steady alto cutting through the last of the applause. Neither Roy nor Riza had bothered to prepare a speech, not because they didn't think they would win, but because both believed in speaking in the moment. "I'm honored to receive this award, so thank you to the Academy. Thanks to the cast and crew, for making the film possible. Now, I'd like to take the time to thank the veterans that I spoke with, and those that I didn't. While Promised Day depicts imaginary events, the struggles our soldiers go through are not. They give their lives for our country, so I'd like to dedicate this to them." She holds the award up to applause, but stays where she is to deliver the last of her speech. "And lastly, to Roy. I could not have given the performance I did without you. Thank you." She smiles again and ducks her head before leaving for the press room.

Roy (hopefully) won't have to wait long to join her. Best Actor is next. Jean Havoc and Breda Heymans walk out to present, and all eyes are once more on the screen.

Roy's name is last on the list, as though paired with Riza's. "Roy Mustang," the announcer says, "Promised Day."

The screen fades to a shot of a dimly lit underground tunnel. Roy, dressed in army gear, stands over the shivering form of a man. Blood stains Roy's knuckles and the stone floor below in the obvious aftermath of a fight. Wracked sobs echo from the man on the ground. The camera is focused on his face, and the tears leaking from his eyes. "Please," he begs, his voice a high tenor. "Don't shoot! I don't wanna die!"

The camera cuts to Roy's face as it twists into a mask of hatred. "I'm not giving you a choice," his character snarls. "Now burn in hell!"

A thumb pulls back the hammer of a gun, and the camera cuts to a shot of Roy in profile, with Riza standing behind him, holding a gun.

"And what do you think you're doing?" he asks, voice low and dangerous.

The camera switches to a head-on shot, showing Riza just over his shoulder. "That's enough, Colonel," Riza says, voice rock-steady. "I'll deal with him from here."

"He's as good as finished," Roy answers darkly. "Lower your weapon."

"I can't obey that. Put your weapon down."

"Dammit!" he roars. "I won't ask again!"

The screen fades to black once more, to a smattering of applause. Havoc plays with the envelope some, drawing out the tense moment. Breda elbows him before it can get too far, and Havoc relents. "And the Oscar goes to…Roy Mustang."

Roy pops up out of his seat with a smile. Hands slap his back as he makes his way down the aisle to the podium that Riza has just vacated.

She's watching him from a live feed backstage, and the press knows they're not going to get any answers from her until she sees his speech.

"Not sure how I'm gonna top Riza's," he says, "since she pretty much covered it." Laughter rippled through the audience. "Thanks to the Academy, of course. Maes Hughes, one of my closest friends. You did one hell of a job here. Cast and crew, like Riza said. To the producers, for funding this project." Even when giving a thank you speech, Roy can still be trusted to charm and schmooze the higher-ups. He rattles off a few more important names, being careful not to leave anyone too important out. "And lastly, Riza. Of course." He chuckles. "We've been doing this for years, but she stills challenges me every day. I couldn't have done this without her." He tosses off a small salute, then leaves the stage to join her backstage.

They're the talk of the town that night. Everyone with a camera wants a shot of the two stars with their awards, and a few beckon Maes Hughes over to show off his recently acquired one. Lights flash and voice shout out, and for once, they don't mind.

Roy and Riza don't leave each other's side that night. It's not until they're in the car once more, heading home, that Roy leans over and presses a surprise kiss to her lips.

She blinks. "Roy—"

"Sorry. I've been wanting to do that all night, but I figured you'd be unhappy if I planted one on you in front of the cameras."

She gives him an unreadable look. "Thank you."

He smirks at her. "I've got more, if you want."

"Roy, we've discussed this before."

"I know, I know. If we date, they'll focus more on that and not on our work. I just don't think it would be as bad as you make it out to be." She shoots him a look and he yields. "But it's whatever you want." He darts forward again and kisses her again. "Last one, I promise."

Riza doesn't believe him, but she doesn't say anything. In truth, she'd been wanting to do the same thing.

Perhaps their next film would be a romance.