Edmund's notebook is open, showing a half-made list in the tidy, cramped handwriting of someone who endured any number of penmanship lessons. Every so often he adds another item: Pastels (messy) or Group mural? (ask Tom or Door) or Fingerpainting (messier, but good when they're excited)Mostly, though, he's neglecting this list in favor of
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And Edmund means that utterly.
With a faint smile -- and if it's wistful, that's subtle -- he adds, "He comes here sometimes, you know. Not often, but keep an eye open."
"You might see him, if he wants you to."
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He flips to a new page in his sketchbook, and starts to draw. A lion's (Lion's) shape is an old and familiar one to his fingers, remembered dearly and drawn often from every angle, and this one takes form quickly on the paper.
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The lion is pacing with slow dignity, his head turned slightly towards the viewer to show large solemn eyes with a steady gaze. There's plenty of room left on the paper, front and back, if Finn chooses to sketch in the corners later.
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"He's very..." Finn trails off, trying to think of a suitable word, before shrugging with a smile.
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It's not false modesty. It's just fact.
"He is, though."
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