Jim is furious, and the sound of his stomping can probably be heard all the way down to the third floor.
How did things go so wrong?
She doesn't understand. I thought she was . . . how can't she understand?He's already made one hole in the wall - if he wants to make more, he can at least make them in his room. And then he's going to take his
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Or maybe it's Jim.
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"Who - I didn't invite -"
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If there were any sound in the room other than Jim's breathing, it would be Sarah's voice: James Pleides Hawkins, what have you done this time?
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He crosses the room. It would be wrong to say he does it like he has no choice - he DOES have a choice, but every atom in his body knows that it would be a bad idea to make any other.
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His mother's weary love is the only sort of love he knows, and that's what he picks up most on when the wave of Her love washes over him - that and something decidedly, almost frighteningly eternal, and Jim has no idea how he identifies it as eternity.
He's scared, and wants to pull away, and doesn't. She loves him. How does he know that? Who is She? Why will She always?
How does he know that?
". . . I don't know who you - Katara hates me, and Mom . . . probably should . . .
"Why did I tell you that? Who are you?"
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In the courtyard a girl is punching through rock with her bare fists. A man is sharpening a sword that he probably shouldn't be able to lift. A big red guy in the corner is . . . well, he's being a big red guy in a corner. He doesn't have to do much else to look impressive.
Look at them.
Look at them, and look at the others around them. The ones who are learning. The ones who are masters. The boy with the violin, his mother asleep on a bench. The blonde girl with the wooden stake, the black-haired girl with the terrifying swords.
Look at them, Jim. It's very important.
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"What? I don't get it. I . . ."
Dude, how are they doing half the things they're doing?
"I don't know why - why are we watching them?"
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Look at them working. Not a person looking like they're out of place - even though they'd be terribly out of place anywhere else, even most normal places of combat.
There's a wrench on the floor, next to a solar panel and a small engine that he's supposed to be making it power. She places all three in his hands.
Don't they look right there?
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He looks out the window.
He looks at Her.
"I've . . . someone's got to save him . . ."
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Not just for him, but for them. The people outside. For Danny, who is breaking. For Katara, who he might break. For Harth. Who may be unfixable. For every single person he has ever passed on any street, in any universe.
For Sarah.
Someone will save Danny . . .
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There's nothing between Jim and his fear anymore. He doesn't know who She is, and doesn't think it matters. He wants to curl up in Her arms and be comforted forever. The tears come, and he lets them.
"I miss my mom."
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He cries for some time. She holds him.
And when he is done, she dries the tears from his reddened eyes and, once again, lifts up the solar panel and the engine.
He can fix them. He should.
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He picks up the wrench.
Dials are set, wires are crossed, parts are tightened, loosened, removed.
And he holds it out to her.
It should work. It would, if there were sunlight.
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From her hands and from her face a light grows, golden and warm and beautiful. The sound of voices is just on the edge of terran hearing, and the room is filled with light -
When it fades, She is gone.
The engine whirrs to life.
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When the room is dark again, he stands in it for a long while before he registers the vibrating engine in his hands. He looks at it, breathing heavily, and with trembling fingers, turns it off. Conserve the battery.
And even then, it's a long time before he manages to speak again.
But when he does? He smiles.
". . . woah."
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