River Tam (
river_meimei) wrote in
milliways_bar2005-08-13 12:19 am
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There are a few wooden benches in the greenhouse, scattered here and there among the tidily graveled paths. River's lying on her back in one, one knee pulled up and the other dangling off the edge, head propped against the wrought-iron armrest with its rose-filigree.
Porridge Woman the frog sits on the ground next to her foot, catching the occasional fly. A rabbit sits on River's chest; she's gently stroking it.
The humid breezeless air smells of
(Anthy)
roses.
Porridge Woman the frog sits on the ground next to her foot, catching the occasional fly. A rabbit sits on River's chest; she's gently stroking it.
The humid breezeless air smells of
(Anthy)
roses.
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A month ago, for her, Meg made a promise, and she's come to make good on it.*
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She pets the rabbit's ears.
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She is looking for Anthy; or, failing that, a watering can.
She's a trifle surprised, therefore, to step around a white rosebush and see someone else.*
- oh. Hey, River.
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"Meg."
It's said neutrally, to the rabbit. She doesn't look over.
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- don't suppose you've seen Anthy, have you? I looked in her room, but she's not there, so I guess she's better -
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Startled, the rabbit freezes, and then scrambles down, scraping River's forearm accidentally as he goes.
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*Meg's wide gaze follows the fleeing rabbit for a moment, then returns to River, concerned.*
- you and Anthy didn't have a fight or something, did you?
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"Tried but she didn't. She could but she couldn't, wouldn't let her--" Her voice is rising.
She sits up in an abrupt movement, shoving her hair back with agitation. The frog, scared, vanishes under a rosebush.
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What wouldn't let her? The - rules, of the duels and things? Is that it?
*Meg is rather on the wrong track; but, in her defense, the right track is far out of her experience, and not anything she would want to consider, besides.*
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She sags, head bowing, hair hiding her face. Every line of her body is slumping.
"I'm sorry. I'm -- sorry, she's sorry, I tried, I didn't --"
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- sorry.
River, sorry for what?
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She doesn't answer.
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River, *she says, and tries for patient; and misses it, by a fair amount.*
Tell me.
Where is she?
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"They come in the dark and, and she's me. Come for her. We will, I will, said I would and I will--"
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and she's you.
*Comprehension, rising.*
Je m'en fous -
*And, with comprehension, denial.*
Non. No, how could - you wouldn't have let them do that. You said you could protect her, merde, I've seen you fight -
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"She can, she could -- I'm sorry -- kissed her and she changed her skin. I'm sorry. They'll get her back. Said she would, said she'd go--"
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- you promised. You said you'd try to help, you'd keep her safe, and I trusted -
*She'd believed, and hadn't protested, whatever she felt; hadn't challenged, had let it rest.
She'd believed River was good for her.*
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Her lone left hand is still clenched tightly; she'll have nailmarks in her palm, later.*
Crying, *she says, shortly,* won't help it.
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"She knows it!"
She can't hold Meg's gaze, or maybe she just can't keep her focus steady; she rakes her hair back, and stares wretchedly at the greenhouse's far wall.
"Sedatives and soothers. I'll help. I'll help. I'm going, said she's going -- I promised. Promise you. She's coming for her. She'll get her back."
She's breathing in harsh gulps, next thing to outright sobs.
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- and I'm even going to trust that when you say 'sedatives and soothers', you're not talking about your promises, here. Giving you the benefit of the doubt, tu vois?
I'm not even going to ask what you're doing here, now, instead of out there looking for her, because I'm almost pretty sure you must have a good reason.
*Her voice is almost conversational, now, though the ragged edge betrays it.*
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"You think she doesn't care. You think she's not trying. But you're wrong." More ragged, strained, "You're wrong."
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Maybe, *she says, and she doesn't sound angry, quite; though she doesn't sound like she's backing down, either, not by a long shot.*
But that's not the point, is it? Trying doesn't matter. It's whether or not you can do it that counts.
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Low and shaky, "Can."
Beat.
Only slightly steadier, "She can."
Her face is pale and drawn in lines of wretchedness.
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It's easier. Pretend it's just a chat. It's easier.*
She's sacrificed for you; so she thinks you're worth it. I hope she's proved right.
She never was, with me - proved right, I mean - but then, she never got into as much trouble for it, either, before, so maybe it'll be - maybe it'll be different, now.
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Every muscle of her body is taut, a tangle of distress.
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When it doesn't come, she speaks again, and all efforts at casualness, at conversation, are gone.*
You took a responsibility, when you stepped up, that day. You know that.
We've had different ideas maybe of what that is, and you hadn't always listened to me, and maybe if you had she wouldn't be there now, but that's not the point.
Point is, you're capable. more capable than - than anyone else, maybe - and you're responsible, too.
I believed that - and I guess I still do.
So when you go -
*If I let you go, is not said, but heard; nevermind whether or not Meg has any power to give permission -*
- you've got no excuse for not bringing her back.
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"Said I would. She said. What it means. She took the sword. She knows. Going to help her."
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I'm not you.
I can't know things unless you say them.
I thought you probably knew what it meant - before what's - anyways, I tried to tell you often enough, just to be sure, but I've never known. How could I?
It's too important to take on faith.
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One hand is tight around the pendant she wears -- a gold elephant head, cheap but pretty.
"She's Anthy."
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That's why.
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Her knuckles are white, and the elephant's trunk digs into her palm.
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And then realizes what she's said, and twists herself back into the foreign language -*
You understand me, I think.
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It's not entirely clear whom she's talking about.
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*For the first time, her eyes leave River's face; down to her hands, clutching the elephant necklace.
And Meg turns to go.*
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Her steps are steady for a long, long ways, until she's into the forest, cloaked by the trees and well out of sight of the open glass.
And then she folds in on herself, arms wrapping around her knees, and shakes and shakes in every well-trained muscle, and stares at the tree in front of her with dry, aching eyes.*