Duck's been snoring slightly on a table in the middle of the room, head pillowed on a piece of paper, when -
do you have the resolve, little duck?- she wakes up with a start, shaking her head to get the last wisps of weird half-memory out of her head
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Duck looks up, already scowling. "Yeah, well - well - I already know I'm bad at this stuff so you don't have to tell me!"
. . . as comebacks go, there have been better.
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Fakir takes a seat across the table from Duck and pulls his own essay draft, along with a quill pen and an ink bottle, out of his knapsack.
His paper is quite a bit longer than hers.
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Duck is trying not to squint and see what he's writing, but man, it's really tempting.
"I bet you're almost done, huh," she mumbles, and flops her head down on the table, with another sigh. Stupid Fakir!
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It's possible that the ballet would make more sense to Fakir if he were interested in girls.
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Duck's head is still on the table.
"Do you get the story? I mean . . . I guess I get most of it, but I don't get . . . if Siegfried really loves Odette, then how come he says he'll marry Odile? And if he wants to marry Odile how come he goes back to Odette? It's confusing . . ."
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That covers everything, doesn't it?
Fakir refills his quill and scratches out another sentence, after which he takes pity on Duck and attempts a better explanation.
"It's because he's -- he thinks Odile's --"
How on earth can Fakir explain this to a twelve-year-old girl who's still as flat as a toothpick? He takes a deep breath and starts for a third time. "You know the difference between the ways Odile and Odette dance?"
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"Odette does the really hard stuff," she volunteers. "The thirty-two fouettes."
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Why am I even bothering to try to explain this to her? But Fakir tries again.
"I mean, the style. What kind of style does Odile dance? What's her personality?"
How many questions does Fakir have to ask to avoid using the word sexy?
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She chews her lip. It's hard when she's never really seen a full-length production of Swan Lake.
"I guess she's . . . she's a really good dancer, but also - but also, Odile really wants the prince to like her . . . she really wants to dance with him . . ."
Odette's dance involves a lot of running away.
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"Well, if someone wants you to like them," she says, "I don't see why it's a bad thing to be nice to them!"
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"She's not being nice because she wants what's best for him. She's being nice because she wants to control what he does."
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Sometimes, Duck is capable of making leaps of parallelism! Sometimes. (But she generously does not point out that Fakir talking about control is a little pot and kettle.)
"You mean like Kraehe . . . but Kraehe isn't nice to Mytho, either. I wonder if . . ."
Kraehe wants to control Mytho, but - there's something so sad about her . . .
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Exactly like Kraehe, who wears a black tutu that accentuates her figure, who sheds black feathers wherever she goes.
Fakir, at least, recognizes that story.
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"I wonder if Odile's sad like Kraehe . . ."
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