For Anyone Who Hasn't Seen This FANTASTIC Concept Yet, Get On It!! Right Now!!

ASH MY ANGEL… may i receive a song…

hi my love 🥰🥰 ofcourse you may

the weather's got me lovinggg this song these days

AAAAAAAHHHH

omg bae tagged me in something hihi

coffee or tea || early bird or night owl || sandalwood or lemongrass || spring or fall || silver or gold || pop or alternative || freckles or dimples || snakes or spiders || mountains or fields || thunder or lightning || norse mythology or greek mythology || green or red || flute or guitar || ruby or diamond || butterflies or honeybees || cake or cookies || typewritten or handwritten || secret garden or secret library || rooftop or balcony || spicy or mild || concert or theater || london or paris || van gogh or monet || petrichor or sea salt || denim or leather || chatter or music || forest or desert || dragons or unicorns || masquerade ball or yuletide party || violence or heartbreak || hugs or kisses || bergamot or lilac

no pressure lovelies: @blastzachilles @voidsuites @talsorchard @artstennisracket

thank you for the tag @donaka-screaming mwah!!!!

coffee or tea || early bird or night owl || sandalwood or lemongrass || spring or fall || silver or gold || pop or alternative || freckles or dimples || snakes or spiders || mountains or fields || thunder or lightning || norse mythology or greek mythology || green or red || flute or guitar || ruby or diamond || butterflies or honeybees || cake or cookies || typewritten or handwritten || secret garden or secret library || rooftop or balcony || spicy or mild || concert or theater || london or paris || van gogh or monet || petrichor or sea salt || denim or leather || chatter or music || forest or desert || dragons or unicorns || masquerade ball or yuletide party || violence or heartbreak || hugs or kisses || bergamot or lilac

npt: @kingkat12 @vadersangel @222col @tinas111 @titsout4jackles @generalb @sallux @carmillavalentine

why is it so quiet on here WHERE IS EVERYBODY

oh danny lyon i want you

am i right or am i right

tashi duncan needed a girlfriend

LOVE ME TO DEATH .ᐟ

part one ・ part two

summary: After surviving the Stanford massacre, you try to start over—move away, change your name. But Art, Patrick and Tashi were never caught. Strange messages and disappearances begin again, and the paranoia you thought you’d buried resurfaces. You’re not sure if you are being hunted… or if they’re luring you back in to finish what they started.

cw: 1.5k words. apt!scream au. paranoia and stalking. psychological trauma. gaslighting. violence (implied). threatening messages. fear and dread. obsession. loss of control.

genre: psychological horror / slasher / thriller.

taglist .ᐟ @blastzachilles, @lvve-talks, @jordiemeow, @strfallz, @222col, @soulxinxthexsky, @diyasgarden, @jinxedbambi, @lexiiscorect, @religionlost, @bluestrd, @jclolz22, @magicalmiserybore, @destinedtobegigi, @fwaist, @idyllicdaydreams, @sohighitscool, @shahabaqsa0310

You don’t dream about the knife anymore. You dream about the silence that came after it. The moment you realized no one was coming. The moment their hands let go of your throat—not because they took mercy, but because they wanted you to live.

You were their final girl. And you didn’t ask for that.

After the attack, the cops found your dorm soaked in blood—whose? You never knew. Your screams woke up the entire west quad after escaping the athletic building lockers. You gave them names—Tashi Duncan, Patrick Zweig, Art Donaldson—and you gave them details. You told them where the rest of the bodies were buried; little secrets the killers had told you before letting you go. Which drawers held the Ghostface masks. What the blood under your fingernails meant.

But they were already gone. No phones. No footage. No fingerprints. Like the whole thing had been a story you made up during a psychotic break.

But you know the truth. They let you live. And monsters don’t vanish forever.

You moved across the country six months later.

New name. New school. No tennis courts. No whispers of Ghostface. You enrolled in a tiny liberal arts college in Vermont where no one had ever heard of Tashi Duncan or her star-crossed boys. You found an apartment—alone this time. No roommates. No shared keys. The walls were thin, and the pipes moaned in the winter, but at least it was yours.

You even got a therapist. Sometimes you lie to her. Sometimes you don’t. Mostly, you tell her you’re fine. Mostly, you try to believe it because life goes on.

But it starts with little things, at first. A knock on your door when no one’s there. A lightbulb unscrewed. A voicemail filled with static. You chalk it up to anxiety. Or trauma. Or both. The mind plays tricks when it’s lived too long in fear.

Then you find a postcard. No return address. No note. Just a photo of Stanford’s tennis courts. You stare at it for hours. Your hands don’t stop shaking for days.

You start checking your locks.

Twice. Then three times. You push furniture in front of the door. You stop answering calls from unknown numbers. You carry a knife in your jacket, one in your bedside drawer, and a third tucked between your mattress and the wall.

You tell yourself it’s just leftover fear; a scar from a time when your life wasn’t your own. But sometimes, at night, you hear the floor creak, and you know you locked the door.

You see her at the grocery store, just for a second. An hallucination, a dream, something real. A flash of dark curls. Her beautiful skin. That posture you could recognize anywhere—the cocky, impossible tilt of someone who never lost anything in her life.

Tashi.

You drop your basket. Run to the end of the aisle. Gone. You ask the cashier if they saw her, they say no one matching that description came in tonight.

You don’t sleep anymore. You stop going to the store. You stop going anywhere.

You install a camera. Just one, to be sure. Outside your door. You check it every night like a drug you can’t escape, refreshing the feed, watching for a shadow that never appears. Until one day it’s turned around, facing the wall.

Your therapist says you’re experiencing PTSD-induced paranoia and you simply nod at her.

But in your gut, you know, they’re still out there. And they’re not done with you.

The power goes out one night during a storm.

You light a candle. Sit in the kitchen. Try to calm the breathing that’s too shallow, too fast. You try not to think of knives or black robes or dripping masks. Then your phone buzzes. A single message. No number that you recognize.

“Still bleeding, final girl?”

You drop the phone. The screen cracks. You throw up in the sink that night, sweat spilling through every pores of your body with the fear consuming you. It’s like an awake-nightmare.

You go to the police the next morning. Again, like you had done before; a few days after Stanford, a week after Stanford, a month after Stanford – remembering the paranoia.

You tell them someone is stalking you. That you’ve received threats. That you survived a massacre and the killers were never caught. They write it all down.

They promise to look into it. They never call back. They never did.

You start to think you’re losing your mind.

You hear music sometimes. A tennis match broadcast faintly through the walls. A whisper behind your head when you’re brushing your teeth. You hear your name in the shower steam. You unplug everything. Cover mirrors to not see behind yourself. Start sleeping in the tub with the door locked, a knife in hand and every noise waking you up.

But they keep getting in. Somehow. They always get in.

You wake up one morning to find a trail of red shoe prints across your carpet and you almost throw up again. They are tiny tennis court prints. A racket on the table of your living room—you haven’t played tennis since Stanford. You never wanted to hear about it ever again.

Like someone dipped them in blood. You call the cops again. They don’t find anything, no prints, no camera footage; nothing.

The next time you see Patrick, it’s in a dream.

He’s sitting in your kitchen. Perfect posture, one leg crossed over the other, sipping tea from your mug like he’s lived here all along. “You’re slipping,” he says without looking up.

“I’m not.” You try to convince yourself – him, it’s all the same. Your heart is in your throat with the fear you feel. He’s not real, he’s not here; but he still has that hold onto you that you can’t escape. “You’re unraveling,” he continues. “It’s okay. You weren’t meant to live through it. That’s why it hurts so much.”

You try to scream, but your voice is gone. Patrick finally looks at you, and he’s wearing the mask. The scream is his now. Quiet and observing.

You try to leave town after a few days. Throw clothes into a bag. Book a motel two states away. You don’t leave a note. You don’t tell your therapist. You just go.

Halfway down the highway, your car dies like it was meant to be. Completely.

You sit on the shoulder, shivering, dialing roadside assistance. Then you check the trunk. Inside—under your spare tire—is a Ghostface mask. And a photo of you sleeping in the Vermont apartment.

You stop fighting it after that. You stop trying to convince anyone. No one believes the girl who lived. No one believes the crazy girl.

And they’ve made sure of that. They’re not just stalking you anymore. They’re gaslighting you from the inside. Everything around feels like a joke they created; a world just for you to suffer the lies and manipulation.

The final straw is the rabbit. You find it on your porch one morning. Tiny. White. Gutted. Its throat slit clean, like a signature – like something to remember them by. Pinned to its side is a note written in perfect, feminine script; the handwriting of Tashi that you can visualize back on the Stanford books.

“You should’ve died when we gave you the chance.”

You move the next day. You don’t care where. Anywhere but here.

The new place is better. Brighter. Busier.

There are windows that face the street, and you can see people. Real people. Families. Kids on bikes. Joggers with golden retrievers. It helps. For a while. You let yourself laugh again. Smile at strangers. Go out with friends you made in the tiny city.

You even start writing about what happened. Not for anyone else. Just for you. Just to get it out of your body before it rots you from the inside. Your therapist says it’s good progress. That you’re reclaiming your narrative.

That you’re healing. That you can be better.

And then, on a rainy Tuesday morning, you get a package. No return address. Inside: a VHS tape and a matchbook from Stanford’s campus bookstore. You don’t own a VHS player, but your neighbor does.

You tell her it’s for a film class and you watch it alone. It’s footages of you, in your old dorm. Sleeping. Showering. Crying into your pillow after the attack. You see Tashi in the corner of one frame. Art in another. Patrick whispering into the camera, smiling.

“We missed you.”

The walls start closing in again. You don’t sleep. You don’t eat. You let yourself go.

You start hearing tennis balls thudding in the hall at night. You find your own handwriting scribbled across mirrors. You find locks broken that were never touched.

Sometimes you think about just walking into the woods, into the dark, into paranoia. But that’s what they want. They want you gone; but why?

So you start preparing. Not to run. To fight. To take back what’s yours. You buy cameras, wire your windows, train yourself to wake at every sound. You read books on serial killers, on survival, on how to set traps.

You wait. Because they’re coming. They always do. And this time, you’re not going to let them write the ending. But deep down; you know what you really fear.

Not that they’ll kill you, but that they’ll love you while they do it.

And that part of you… will love them back.

the way i want to fuck him but have him keep his crew socks on . . . they accentuate his legs so well ohhh god don't let me speak

pleak ash my angel, I beg for a song

my sweet!

how about this one...