I think Blair's refusal to make terms with Chuck after he manipulated her and Dan shows just how much she's grown up and he hasn't – before she'd do anything for him simply so he wouldn't be alone. I wouldn't want the following to happen for real, but my Chair shipping heart couldn't help but write it.
Enjoy.
Dissociation
She held him when his father died, and thought he was a man. He wasn't, of course – he was the boy to her girl, lost and wandering, using her as an anchor or an island on a wide empty sea. He was a man in so many other ways that she thought he must be one, but he was playing at it the way she was playing at being a queen (because deep down, she's a princess, and she needs to be woken up).
So he asked her to be a princess.
She'd rather be a little princess with morals than a real one left cold.
Still, it's impossible to deny the past. Try and deny that the rain is falling, or that cars will skid and crash on black ice; never deny that you loved, once (that you have, that you will...that you do).
But what is the cost of being grown up, of being a woman instead of a girl? It comes at the price of turmoil, at the price of kisses worth the missing, at the cost of forgetting the boy with the bright eyes because the man he isn't sometimes makes her sick. They've spent their lives twisting each other around their fingers, playing, but that's not the way it's supposed to be. She wants him to stop playing, to be the prince to her princess, to wake her up like he's supposed to instead of tricking the witch and killing the thorns and stopping her from sleeping in the first place. She needs to open her eyes and see, but she'd never exchange truth for consciousness.
He stands alone, regal, empty, and she hates that.
So she puts on the beautiful dress, and she glides into place like she owns the place, and she says not a word and doesn't look him in the eye. "This means nothing," she tells him sharply, and the curve of his fingers over her spine will not, must not break her. This is a visage to another lie (or truth), and she has to hold her own against the power of the past. They have to stop breaking, there are already too many pieces on the floor.
They are immortalised: proud, vulnerable, black.
Charles Bass, entrepreneur.
Blair Waldorf, associate.
But she turns her head as they freeze to be framed and it catches, his skin against hers, like flint and kindling. She can't help but hope that one day – someday – dungeons and dragons will be waiting for her after all.
Fin.