#also it's very telling that she never. not once. feels relief when peeta fails to kiss her

[shinynewmemories]

I just realized that katniss has a "wuh HUH why no kisses for me??" moment in every book

1. THG when she first feels the "stirring" is her chest and wants Peeta to continue kissing her

2. CF the morning after the Quell announcement and Peeta is in Drill Sergeant Mode rather than Comforting Fiance Mode

3. MJ when Hijacked! Peeta greets her with violence rather than kissing her senseless like she was expecting

Okay the last one is a bit extreme but still it's soooo funny that she NOT ONLY completely expects kisses from Peeta, but is either disappointed or utterly shocked when she doesn't get them lol

[hockeysweetheart]

When I was in need of Help you were there 

When You left I cried Tears 

When You said you couldn’t hold on you did 

When  You speak in front of a crowd everyone listens 

When You almost died I knew I couldn’t let go 

When You  gave your blessing to move on I couldn’t without you. 

When I needed someone to hold on to you where there 

When I wake up in the night from horriable dreams your arms to comfort are close by. 

When You see me fall you pick me back up 

When you saw me for who I am you still loved me 

When you were taken away I was broken 

When we kiss it feels like nothing us is in this world but us. 

When you smile I  smile. 

When you cry I am the shoulder you can lean on 

When I fail your always supporting me 

When I lost everything you were still there 

When you said you loved me I loved you to. 

When you bake or paint its you create something speical 

When you talk about me you make me feel like your the one

When I told you I am expecting you were overjoyed I know I said I’d never Bring Kids into this broken world but you showed me those wounds can be fixed when we have each other. I feel like if I was to bring kids into the world it would be with you no one else. 

Below are moments where Katniss Notices Peeta 

. I watch him as he makes his way toward the stage. Medium height, stocky build, ashy blond hair that falls in waves over his forehead. The shock of the moment is registering on his face, you can see his struggle to remain emotionless, but his blue eyes show the alarm I've seen so often in prey. Yet he climbs steadily onto the stage and takes his place.

The mayor finishes the dreary Treaty of Treason and motions for Peeta and me to shake hands. His are as solid and warm as those loaves of bread. Peeta looks me right in the eye and gives my hand what I think is meant to be a reassuring squeeze. Maybe it's just a nervous spasm.

But this seems an odd strategy for Peeta Mellark because he's a baker's son. All those years of having enough to eat and hauling bread trays around have made him broad-shouldered and strong. It will take an awful lot of weeping to convince anyone to overlook him. 

I don't know why, but this rubs me the wrong way. "What about you? I've seen you in the market. You can lift hundred-pound bags of flour," I snap at him. "Tell him that. That's not nothing."

"He can wrestle," I tell Haymitch. "He came in second in our school competition last year, only after his brother."

What on earth does he mean? People help me? When we were dying of starvation, no one helped me! No one except Peeta. Once I had something to barter with, things changed. I'm a tough trader. Or am I? What effect do I have? That I'm weak and needy? Is he suggesting that I got good deals because people pitied me? I try to think if this is true. Perhaps some of the merchants were a little generous in their trades, but I always attributed that to their long-standing relationship with my father. Besides, my game is first-class. No one pitied me!

It's weird, how much he's noticed me. Like the attention he's paid to my hunting. And apparently, I have not been as oblivious to him as I imagined, either. The flour. The wrestling. I have kept track of the boy with the bread.

"Thanks for keeping hold of me. I was getting a little shaky there," says Peeta. "It didn't show," I tell him.

Finally, I fill a plate with rolls and sit at the table, breaking oil bits and dipping them into hot chocolate, the way Peeta did on the train.

  Peeta looks striking in a black suit with flame accents. While we look well together, it's a relief not to be dressed identically.

  Peeta takes off his jacket and wraps it around my shoulders. I start to take a step back, but then I let him, deciding for a moment to accept both his jacket and his kindness. A friend would do that, right?

"I do the cakes," he admits to me. "The cakes?" I ask. I've been preoccupied with watching the boy from District 2 send a spear through a dummy's heart from fifteen yards. "What cakes?" "At home. The iced ones, for the bakery," he says. He means the ones they display in the windows. Fancy cakes with flowers and pretty things painted in frosting. They're for birthdays and New Year's Day. When we're in the square, Prim always drags me over to admire them, although we'd never be able to afford one. There's little enough beauty in District 12, though, so I can hardly deny her this.

"Peeta?" I whisper. "Where are you?" There's no answer. Could I just have imagined it? No, I'm certain it was real and very close at hand, too. "Peeta?" I creep along the bank. "Well, don't step on me." I jump back. His voice was right under my feet. Still there's nothing. Then his eyes open, unmistakably blue in the brown mud and green leaves. I gasp and am rewarded with a hint of white teeth as he laughs. It's the final word in camouflage. Forget chucking weights around. Peeta should have gone into his private session with the Gamemakers and painted himself into a tree. Or a boulder. Or a muddy bank full of weeds. 

Oh, right, the whole romance thing. I reach out to touch his cheek and he catches my hand and presses it against his lips. I remember my father doing this very thing to my mother and I wonder where Peeta picked it up. Surely not from his father and the witch. 

I fumble. I'm not as smooth with words as Peeta. And while I was talking, the idea of actually losing Peeta hit me again and I realized how much I don't want him to die. And it's not about the sponsors. And it's not about what will happen back home. And it's not just that I don't want to be alone. It's him. I do not want to lose the boy with the bread.

I make Peeta put his jacket back on. The damp cold seems to cut right down to my bones, so he must be half frozen. I insist on taking the first watch, too, although neither of us think it's likely anyone will come in this weather. But he won't agree unless I'm in the bag, too, and I'm shivering so hard that it's pointless to object. In stark contrast to two nights ago, when I felt Peeta was a million miles away, I'm struck by his immediacy now. As we settle in, he pulls my head down to use his arm as a pillow, the other rests protectively over me even when he goes to sleep. No one has held me like this in such a long time. Since my father died and I stopped trusting my mother, no one else's arms have made me feel this safe.

I make room for him in the sleeping bag. We lean back against the cave wall, my head on his shoulder, his arms wrapped around me.

Peeta's a whiz with fires, coaxing a blaze out of the damp wood. In no time, I have the rabbits and squirrel roasting, the roots, wrapped in leaves, baking in the coals.

I also want to tell him how much I already miss him. But that wouldn't be fair on my part.

Catching Fire... 

Words. I think of words and I think of Peeta. How people embrace everything he says. He could move a crowd to action, I bet, if he chose to. Would find the things to say. But I'm sure the idea has never crossed his mind.

"So what's wrong?" he asks. I can't tell him. I pick at the clump of weeds. "Let's start with something more basic. Isn't it strange that I know you'd risk your life to save mine ... but I don't know what your favorite color is?" he says. A smile creeps onto my lips. "Green. What's yours?" "Orange," he says. "Orange? Like Effie's hair?" I say. "A bit more muted," he says. "More like ... sunset." Sunset. I can see it immediately, the rim of the descending sun, the sky streaked with soft shades of orange. Beautiful. I remember the tiger lily cookie and, now that Peeta is talking to me again, it's all I can do not to recount the whole story about President Snow. But I know Haymitch wouldn't want me to. I'd better stick to small talk. "You know, everyone's always raving about your paintings. I feel bad I haven't seen them," I say. "Well, I've got a whole train car full." He rises and offers me his hand. "Come on." It's good to feel his fingers entwined with mine again, not for show but in actual friendship. We walk back to the train hand in hand. At the door, I remember. "I've got to apologize to Effie first."

I go to my compartment and let the prep team do my hair and makeup. Cinna comes in with a pretty orange frock patterned with autumn leaves. I think how much Peeta will like the color.

Peeta, who spends much of the night roaming the train, hears me screaming as I struggle to break out of the haze of drugs that merely prolong the horrible dreams. He manages to wake me and calm me down. Then he climbs into bed to hold me until I fall back to sleep. After that, I refuse the pills. But every night I let him into my bed. We manage the darkness as we did in the arena, wrapped in each other's arms, guarding against dangers that can descend at any moment. Nothing else happens, but our arrangement quickly becomes a subject of gossip on the train.

I don't want to dance with Plutarch Heavensbee. I don't want to feel his hands, one resting against mine, one on my hip. I'm not used to being touched, except by Peeta or my family, and I rank Gamemakers somewhere below maggots in terms of creatures I want in contact with my skin. But he seems to sense this and holds me almost at arm's length as we turn on the floor.

When I open my eyes, it's early afternoon. My head rests on Peeta's arm. I don't remember him coming in last night. I turn, being careful not to disturb him, but he's already awake. "No nightmares," he says. "What?" I ask. "You didn't have any nightmares last night," he says. He's right. For the first time in ages I've slept through the night. "I had a dream, though," I say, thinking back. "I was following a mockingjay through the woods. For a long time. It was Rue, really. I mean, when it sang, it had her voice." "Where did she take you?" he says, brushing my hair off my forehead. "I don't know. We never arrived," I say. "But I felt happy." "Well, you slept like you were happy," he says. "Peeta, how come I never know when you're having a nightmare?" I say. "I don't know. I don't think I cry out or thrash around or anything. I just come to, paralyzed with terror," he says. "You should wake me," I say, thinking about how I can interrupt his sleep two or three times on a bad night. About how long it can take to calm me down. "It's not necessary. My nightmares are usually about losing you," he says. "I'm okay once I realize you're here." Ugh. Peeta makes comments like this in such an offhand way, and it's like being hit in the gut. He's only answering my question honestly. He's not pressing me to reply in kind, to make any declaration of love. But I still feel awful, as if I've been using him in some terrible way. Have I? I don't know. I only know that for the first time, I feel immoral about him being here in my bed. Which is ironic since we're officially engaged now. "Be worse when we're home and I'm sleeping alone again," he says. That's right, we're almost home. "No, I'd have told you," I say. I pull his hand up and lean my cheek against the back of it, taking in the faint scent of cinnamon and dill from the breads he must have baked today. I want to tell him about Twill and Bonnie and the uprising and the fantasy of District 13, but it's not safe to and I can feel myself slipping away, so I just get out one more sentence. "Stay with me." As the tendrils of sleep syrup pull me down, I hear him whisper a word back, but I don't quite catch it.

Peeta comes by every day to bring me cheese buns and begins to help me work on the family book. It's an old thing, made of parchment and leather. Some herbalist on my mother's side of the family started it ages ago. The book's composed of page after page of ink drawings of plants with descriptions of their medical uses. My father added a section on edible plants that was my guidebook to keeping us alive after his death. For a long time, I've wanted to record my own knowledge in it. Things I learned from experience or from Gale, and then the information I picked up when I was training for the Games. I didn't because I'm no artist and it's so crucial that the pictures are drawn in exact detail. That's where Peeta comes in. Some of the plants he knows already, others we have dried samples of, and others I have to describe. He makes sketches on scrap paper until I'm satisfied they're right, then I let him draw them in the book. After that, I carefully print all I know about the plant.

It's quiet, absorbing work that helps take my mind off my troubles. I like to watch his hands as he works, making a blank page bloom with strokes of ink, adding touches of color to our previously black and yellowish book. His face takes on a special look when he concentrates. His usual easy expression is replaced by something more intense and removed that suggests an entire world locked away inside him. I've seen flashes of this before: in the arena, or when he speaks to a crowd, or that time he shoved the Peacekeepers' guns away from me in District 11. I don't know quite what to make of it. I also become a little fixated on his eyelashes, which ordinarily you don't notice much because they're so blond. But up close, in the sunlight slanting in from the window, they're a light golden color and so long I don't see how they keep from getting all tangled up when he blinks.

One afternoon Peeta stops shading a blossom and looks up so suddenly that I start, as though I were caught spying on him, which in a strange way maybe I was. But he only says, "You know, I think this is the first time we've ever done anything normal together." "Yeah," I agree. Our whole relationship has been tainted by the Games. Normal was never a part of it. "Nice for a change." Each afternoon he carries me downstairs for a change of scenery and I unnerve everyone by turning on the television

I order warm milk, the most calming thing I can think of, from an attendant. Hearing voices from the television room, I go in and find Peeta. Beside him on the couch is the box Effie sent of tapes of the old Hunger Games. I recognize the episode in which Brutus became victor. Peeta rises and flips off the tape when he sees me. "Couldn't sleep?" "Not for long," I say. I pull the robe more securely around me as I remember the old woman transforming into the rodent. "Want to talk about it?" he asks. Sometimes that can help, but I just shake my head, feeling weak that people I haven't even fought yet already haunt me. When Peeta holds out his arms, I walk straight into them. It's the first time since they announced the Quarter Quell that he's offered me any sort of affection. He's been more like a very demanding trainer, always pushing, always insisting Haymitch and I run faster, eat more, know our enemy better. Lover? Forget about that. He abandoned any pretense of even being my friend. I wrap my arms tightly around his neck before he can order me to do push-ups or something. Instead he pulls me in close and buries his face in my hair. Warmth radiates from the spot where his lips just touch my neck, slowly spreading through the rest of me. It feels so good, so impossibly good, that I know I will not be the first to let go. And why should I? I have said good-bye to Gale. I'll never see him again, that's for certain. Nothing I do now can hurt him. He won't see it or he'll think I am acting for the cameras. That, at least, is one weight off my shoulders. The arrival of the Capitol attendant with the warm milk is what breaks us apart. He sets a tray with a steaming ceramic jug and two mugs on a table. "I brought an extra cup," he says. "Thanks," I say. "And I added a touch of honey to the milk. For sweetness. And just a pinch of spice," he adds. He looks at us like he wants to say more, then gives his head a slight shake and backs out of the room. "What's with him?" I say. "I think he feels bad for us," says Peeta. "Right," I say, pouring the milk. "I mean it. I don't think the people in the Capitol are going to be all that happy about our going back in," says Peeta. "Or the other victors. They get attached to their champions."

Peeta would lose it if he knew I was thinking any of this, so I only say, "So what should we do with our last few days?" "I just want to spend every possible minute of the rest of my life with you," Peeta replies."Come on, then," I say, pulling him into my room.It feels like such a luxury, sleeping with Peeta again. I didn't realize until now how starved I've been for human closeness. For the feel of him beside me in the darkness. I wish I hadn't wasted the last couple of nights shutting him out. I sink down into sleep, enveloped in his warmth, and when I open my eyes again, daylight's streaming through the windows."No nightmares," he says."No nightmares," I confirm. "You?""None. I'd forgotten what a real night's sleep feels like," he says.We lie there for a while, in no rush to begin the day. Tomorrow night will be the televised interview, so today Effie and Haymitch should be coaching us. More high heels and sarcastic comments, I think. But then the redheaded Avox girl comes in with a note from Effie saying that, given our recent tour, both she and Haymitch have agreed we can handle ourselves adequately in public. The coaching sessions have been canceled."Really?" says Peeta, taking the note from my hand and examining it. "Do you know what this means? We'll have the whole day to ourselves.""It's too bad we can't go somewhere," I say wistfully."Who says we can't?" he asks.The roof. We order a bunch of food, grab some blankets, and head up to the roof for a picnic. A daylong picnic in the flower garden that tinkles with wind chimes. We eat. We lie in the sun. I snap off hanging vines and use my newfound knowledge from training to practice knots and weave nets. Peeta sketches me. We make up a game with the force field that surrounds the roof - one of us throws an apple into it and the other person has to catch it.No one bothers us. By late afternoon, I lie with my head on Peeta's lap, making a crown of flowers while he fiddles with my hair, claiming he's practicing his knots. After a while, his hands go still. "What?" I ask."I wish I could freeze this moment, right here, right now, and live in it forever," he says.Usually this sort of comment, the kind that hints of his undying love for me, makes me feel guilty and awful. But I feel so warm and relaxed and beyond worrying about a future I'll never have, I just let the word slip out. "Okay."I can hear the smile in his voice. "Then you'll allow it?""I'll allow it," I say.His fingers go back to my hair and I doze off, but he rouses me to see the sunset. It's a spectacular yellow and orange blaze behind the skyline of the Capitol. "I didn't think you'd want to miss it," he says."Thanks," I say. Because I can count on my fingers the number of sunsets I have left, and I don't want to miss any of them.We don't go and join the others for dinner, and no one summons us."I'm glad. I'm tired of making everyone around me so miserable," says Peeta. "Everybody crying. Or Haymitch ..." He doesn't need to go on.We stay on the roof until bedtime and then quietly slip down to my room without encountering anyone.The next morning, we're roused by my prep team. The sight of Peeta and me sleeping together is too much for Octavia, because she bursts into tears right away. "You remember what Cinna told us," Venia says fiercely. Octavia nods and goes out sobbing.

Peeta's in an elegant tuxedo and white gloves. The sort of thing grooms wear to get married in, here in the Capitol.

We walk down the hallway. Peeta wants to stop by his room to shower off the makeup and meet me in a few minutes, but I won't let him. I'm certain that if a door shuts between us, it will lock and I'll have to spend the night without him. Besides, I have a shower in my room. I refuse to let go of his hand. Do we sleep? I don't know. We spend the night holding each other, in some halfway land between dreams and waking. Not talking. Both afraid to disturb the other in the hope that we'll be able to store up a few precious minutes of rest.

I rush over to where he lies, motionless in a web of vines. "Peeta?" There's a faint smell of singed hair. I call his name again, giving him a little shake, but he's unresponsive. My fingers fumble across his lips, where there's no warm breath although moments ago he was panting. I press my ear against his chest, to the spot where I always rest my head, where I know I will hear the strong and steady beat of his heart. Instead, I find silence.

Peeta and I sit on the damp sand, facing away from each other, my right shoulder and hip pressed against his. I watch the water as he watches the jungle, which is better for me. I'm still haunted by the voices of the jabberjays, which unfortunately the insects can't drown out. After a while I rest my head against his shoulder. Feel his hand caress my hair. "Katniss," he says softly, "it's no use pretending we don't know what the other one is trying to do." No, I guess there isn't, but it's no fun discussing it, either. Well, not for us, anyway. The Capitol viewers will be glued to their sets so they don't miss one wretched word. "I don't know what kind of deal you think you've made with Haymitch, but you should know he made me promises as well." Of course, I know this, too. He told Peeta they could keep me alive so that he wouldn't be suspicious. "So I think we can assume he was lying to one of us." This gets my attention. A double deal. A double promise. With only Haymitch knowing which one is real. I raise my head, meet Peeta's eyes. "Why are you saying this now?" "Because I don't want you forgetting how different our circumstances are. If you die, and I live, there's no life for me at all back in District Twelve. You're my whole life," he says. "I would never be happy again." I start to object but he puts a finger to my lips. "It's different for you. I'm not saying it wouldn't be hard. But there are other people who'd make your life worth living." Peeta pulls the chain with the gold disk from around his neck. He holds it in the moonlight so I can clearly see the mockingjay. Then his thumb slides along a catch I didn't notice before and the disk pops open. It's not solid, as I had thought, but a locket. And within the locket are photos. On the right side, my mother and Prim, laughing. And on the left, Gale. Actually smiling. There is nothing in the world that could break me faster at this moment than these three faces. After what I heard this afternoon ... it is the perfect weapon. "Your family needs you, Katniss," Peeta says. My family. My mother. My sister. And my pretend cousin Gale. But Peeta's intention is clear. That Gale really is my family, or will be one day, if I live. That I'll marry him. So Peeta's giving me his life and Gale at the same time. To let me know I shouldn't ever have doubts about it. Everything. That's what Peeta wants me to take from him. I wait for him to mention the baby, to play to the cameras, but he doesn't. And that's how I know that none of this is part of the Games. That he is telling me the truth about what he feels. "No one really needs me," he says, and there's no self-pity in his voice. It's true his family doesn't need him. They will mourn him, as will a handful of friends. But they will get on. Even Haymitch, with the help of a lot of white liquor, will get on. I realize only one person will be damaged beyond repair if Peeta dies. Me. "I do," I say. "I need you." He looks upset, takes a deep breath as if to begin a long argument, and that's no good, no good at all, because he'll start going on about Prim and my mother and everything and I'll just get confused. So before he can talk, I stop his lips with a kiss. I feel that thing again. The thing I only felt once before. In the cave last year, when I was trying to get Haymitch to send us food. I kissed Peeta about a thousand times during those Games and after. But there was only one kiss that made me feel something stir deep inside. Only one that made me want more. But my head wound started bleeding and he made me lie down. This time, there is nothing but us to interrupt us. And after a few attempts, Peeta gives up on talking. The sensation inside me grows warmer and spreads out from my chest, down through my body, out along my arms and legs, to the tips of my being. Instead of satisfying me, the kisses have the opposite effect, of making my need greater. I thought I was something of an expert on hunger, but this is an entirely new kind. It's the first crack of the lightning storm - the bolt hitting the tree at midnight - that brings us to our senses. It rouses Finnick as well. He sits up with a sharp cry. I see his fingers digging into the sand as he reassures himself that whatever nightmare he inhabited wasn't real. "I can't sleep anymore," he says. "One of you should rest." Only then does he seem to notice our expressions, the way we're wrapped around each other. "Or both of you. I can watch alone." Peeta won't let him, though. "It's too dangerous," he says. "I'm not tired. You lie down, Katniss." I don't object because I do need to sleep if I'm to be of any use keeping him alive. I let him lead me over to where the others are. He puts the chain with the locket around my neck, then rests his hand over the spot where our baby would be. "You're going to make a great mother, you know," he says. He kisses me one last time and goes back to Finnick. His reference to the baby signals that our time-out from the Games is over. That he knows the audience will be wondering why he hasn't used the most persuasive argument in his arsenal. That sponsors must be manipulated. But as I stretch out on the sand I wonder, could it be more? Like a reminder to me that I could still one day have kids with Gale? Well, if that was it, it was a mistake. Because for one thing, that's never been part of my plan. And for another, if only one of us can be a parent, anyone can see it should be Peeta. As I drift off, I try to imagine that world, somewhere in the future, with no Games, no Capitol. A place like the meadow in the song I sang to Rue as she died. Where Peeta's child could be safe.

push people aside until I am right in front of him, my hand resting on the screen. I search his eyes for any sign of hurt, any reflection of the agony of torture. There is nothing. Peeta looks healthy to the point of robustness. His skin is glowing, flawless, in that full-body-polish way. His manner's composed, serious. I can't reconcile this image with the battered, bleeding boy who haunts my dreams.

I'm light-headed with giddiness. What will I say? Oh, who cares what I say? Peeta will be ecstatic no matter what I do. He'll probably be kissing me anyway. I wonder if it will feel like those last kisses on the beach in the arena, the ones I haven't dared let myself consider until this moment. Peeta's awake already, sitting on the side of the bed, looking bewildered as a trio of doctors reassure him, flash lights in his eyes, check his pulse. I'm disappointed that mine was not the first face he saw when he woke, but he sees it now. His features register disbelief and something more intense that I can't quite place. Desire? Desperation? Surely both, for he sweeps the doctors aside, leaps to his feet, and moves toward me. I run to meet him, my arms extended to embrace him. His hands are reaching for me, too, to caress my face, I think.

At a few minutes before four, Peeta turns to me again. "Your favorite color...it's green?" "That's right." Then I think of something to add. "And yours is orange." "Orange?" He seems unconvinced. "Not bright orange. But soft. Like the sunset," I say. "At least, that's what you told me once." "Oh." He closes his eyes briefly, maybe trying to conjure up that sunset, then nods his head. "Thank you." But more words tumble out. "You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces." Then I dive into my tent before I do something stupid like cry.

He looks well. Thin and covered with burn scars like me, but his eyes have lost that clouded, tortured look. He's frowning slightly, though, as he takes me in. I make a halfhearted effort to push my hair out of my eyes and realize it's matted into clumps. I feel defensive. "What are you doing?"

"You're still trying to protect me. Real or not real," he whispers. "Real," I answer. It seems to require more explanation. "Because that's what you and I do. Protect each other." After a minute or so, he drifts off to sleep.

"Leave me," he whispers. "I can't hang on." "Yes. You can!" I tell him. Peeta shakes his head. "I'm losing it. I'll go mad. Like them." Like the mutts. Like a rabid beast bent on ripping my throat out. And here, finally here in this place, in these circumstances, I will really have to kill him. And Snow will win. Hot, bitter hatred courses through me. Snow has won too much already today. It's a long shot, it's suicide maybe, but I do the only thing I can think of. I lean in and kiss Peeta full on the mouth. His whole body starts shuddering, but I keep my lips pressed to his until I have to come up for air. My hands slide up his wrists to clasp his. "Don't let him take you from me." Peeta's panting hard as he fights the nightmares raging in his head. "No. I don't want to..." I clench his hands to the point of pain. "Stay with me." His pupils contract to pinpoints, dilate again rapidly, and then return to something resembling normalcy. "Always," he murmurs.

"I think...you still have no idea. The effect you can have." He slides his cuffs up the support and pushes himself to a sitting position. "None of the people we lost were idiots. They knew what they were doing. They followed you because they believed you really could kill Snow." I don't know why his voice reaches me when no one else's can. But if he's right, and I think he is, I owe the others a debt that can only be repaid in one way.

Through the water in the glass, I see a distorted image of one of Peeta's hands. The burn marks. We are both fire mutts now. My eyes travel up to where the flames licked across his forehead, singeing away his brows but just missing his eyes. Those same blue eyes that used to meet mine and then flit away at school. Just as they do now.

I yank my head back in confusion to find myself looking into Peeta's eyes, only now they hold my gaze. Blood runs from the teeth marks on the hand he clamped over my nightlock. "Let me go!" I snarl at him, trying to wrest my arm from his grasp. "I can't," he says. As they pull me away from him, I feel the pocket ripped from my sleeve, see the deep violet pill fall to the ground, watch Cinna's last gift get crunched under a guard's boot.

Peeta and I grow back together. There are still moments when he clutches the back of a chair and hangs on until the flashbacks are over. I wake screaming from nightmares of mutts and lost children. But his arms are there to comfort me. And eventually his lips. On the night I feel that thing again, the hunger that overtook me on the beach, I know this would have happened anyway. That what I need to survive is not Gale's fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that. So after, when he whispers, "You love me. Real or not real?" I tell him, "Real."

They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stirring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it. Carrying him was a little easier, but not much.

[ellanainthetardis]

Hi :) I’m know you’ve written fics where both happen but out of curiosity, in movie!verse (which admittedly I mostly ignore hahah) do you hc effie would move to 12 when Peeta moves back? Would it have been as difficult for her to live in the capitol if she was known to have been the escort that sided with the rebellion rather than the one that everyone thought was the enemy? What do you think would be her prompt to realise she’d rather be with haymitch when it’s not her PTSD like in book!verse?

MMM that’s a very interesting question I rarely touch movie!verse post MJ. I’m not entirely a fan of a “stay sober” Haymitch (at least not until a few years down the line when he might make the decision to cut out himself, bc it wasn’t his choice to get sober in MJ and I feel like he wouldn’t stick to it but I digress). As for Effie, it’s hard to tell. I love EB to death and I love her portrayal of Effie but the way they used Effie in MJ... I can’t really get behind it. She’s acting like her most flamboyant spoiled brat self all MJ 1&2 and 13 never puts her back in her place. I’d have liked to see a transposition of the scenes with the prep teams, for instance, or something that would confront her to reality, instead I got customized uniform book!13 would never have allowed and random comic relief. 

Anyway. Back to to topic. Two options, I think. Either we consider purely movie!canon and we decides they started hooking up in 13, so when he says don’t be a stranger maybe he means that but she doesn’t take it to mean “please move in ily” bc they don’t have the “history” so to speak. In which case, I will lean more toward something where she stays in the city and take a job with Plutarch, basically filling out Fluvia’s role, by becoming his Chief of Staff or something. I do think she has the skills to go into politics, maybe not as a face but as a PR or yeah, chief of staff, or something like that. Higher up but behind the throne, you see? 

Since she joined the rebellion after the Quell and was quite publicly the Mockingjay’s escort during the war, I think most rebels would be satisfied with that and maybe conclude she’s been a part of the rebellion for longer than anyone realized and she wouldn’t deny it so... She would be okay with them, maybe even well considered... I do think she would be in hotter waters with the Capitols but since Capitols invented the game, they would pretend and be very hypocretical bc they want to survive and, while she wouldn’t believe a word or a smile and watch for the knife in her back, she would go along with the charade. 

I think she could make a successful career out of that. A career she enjoys even, because her brain would be put to use for once. And since she wouldn’t be as jadded by the war, I don’t see her ambition being put in check. I guess she would be in relationship with Haymitch but it would be long distance. Holidays, the occasional week-end in 12 or the city... 

Maybe it works out well, at first, because Haymitch isn’t used to having someone romatincally around and that’s a good transition but after a while, I do think he would get in a frame of mind where he wants something more stable and it might put tensions on their relationship a few years down the line...

I’m a romantic and I love them so I want to think they would make it but I’m not sure how much a fling that started in MJ with the movie!characterisation would really work out. Either she quits and move to 12 (but she’s so ambitious and if her career is really working well, it seems ooc) or Haymitch moves to the city (which is NOT happening) or they find some sort of in-between solution where she takes a political role as a delegate in 12 or something... 

Second, option (my default when I play in movie!verse) we consider a hybrid of (what we  think is) book!canon and movie!canon for Effie. We consider Effie  has a lot of character development pre 74th and is fully aware of the states by the time Katniss pulls out the poisonned berries and isn’t as clueless during the Tour and etc as she pretends to be on screen. So when she arrives in 13 she’s DEEPLY unhappy about having been “kidnapped” (probably bc if Haymitch had asked, she would simply have said yes), really upset by the rebels failing to rescue Peeta and mostly worried because she’s not stupid enough not to see she’s not welcome. She’s basically durmped into the enemy’s den and Haymitch isn’t even around to protect her (bc he’s in withdrawals). I like to consider book!13 when I write that verse and pretend movie!13 doesn’t exist, so she would also be “a fish out of water” - as was promised when MJ1 came out. I also like to have her wear the real uniform for that reason, I think it’s important for someone like her who always means to stand out to be forced into the ranks, because it would play on her mind and that’s interesting. 

Anyway, book!hayffie do seem to have more history regardless of if you think they were having an affair before 74th or not. They have all those “of one mind” thing and conspiracy in elevators... They do seem to have a more... real equal working relationship, meanwhile in the movie, it seems Haymitch is doing all the work.... So if we take that into account, I think, in that hybrid idea, Effie would stick with Haymitch and remain his escort (and Kat’s obviously) in 13 so she’s more involved despite the hostility she triggers. Her being more involved means she gets to see more of the horrors happening in Command. She would also, I think, be tired by all the years of dead kids. That’s something that would sit heavily on her and I’m not sure book!Effie shrugs it off as easily as movie!Effie does... 

What I like with movie!Effie though, is that she develops a real nice relationship with Katniss. That, we do lack in the books. And I really like that because I think it might come to play a role post MJ. 

Of course, when we consider post MJ we have to decide what to do there too. I don’t like the movie!MJ ending XD I don’t like that Katniss isn’t hurt/addicted and I don’t like that they ship her off right after the murder. I like the whole “suicidal/withdrawal/trial” thing better. There is SO MUCH happening beyond her room during those weeks (months?) and that’s what’s interesting because I think that’s when hayffie’s fate is decided. (either they implode in book!verse - for a little while - or they seal the fact they want to be together for hybrid movie!verse)

Anyway, if we consider the hybrid version of Effie (movie!verse but with book background and the idea that the affair didn’t in fact begin in 13) I think it’s possible she just might be exhausted and disgusted by all the politics and worried about the children enough that she would just come to 12 with Peeta. To test the water. Also she knows her feelings, she’s mostly confident Haymitch does love her, she probably simply isn’t sure he’s actually ready to have her around him 24/24 in his house. 

I mean if she and Haymitch had been dancing around the casual/not so casual thing for years, she might want to take a shot at being steady, committted while he’s miraculously willing. I can see it as a natural progress of their relationship assuming they took a big step in 13 (either by openly sharing a compartment even if it’s not official like I like to hc or even just by not systematically denying when someone assumes they’re together or even - which I think is plausible - by having an actual convo where she puts it on the table that she wants more and he actually awkwardly reassures her that he does have feelings - even if the words aren’t said yet...). 

Now if they just started hooking up in 13, I don’t think she would show up with Peeta because there wouldn’t be all the developped intimacy and trust that they need. They both have huge trust and intimacy issues. Haymitch more than Effie, granted, but I don’t think she’s the kind of girl who would drop everything to follow a guy without being 100% certain he loves her without question. She’s a romantic, no questions, but she’s also pragmatic. I’m not sure we get those conditions with movie!hayffie. 

ALSO I realize this is all my hc and basically book!verse doesn’t give us much more to go on but I really do believe with all my heart the only reason Haymitch would be open to having a romantic (committed) relationship post MJ (and take a shot at sobriety on top of it) is because of Effie, of their long complicated affair and because he realized he loved her a little too late. Two things in movie verse: either they were hooking up and he doesn’t have the *gasp she’s in the Capitol’s hands, I lost her, shit I love her don’t I?” reveal (although I guess we can still have him start realizing during VT and go from there) so the knowledge he actually wants her in his life full time is slower to come OR they start hooking up in MJ and he doesn’t have the years of denial and tentative repressed feelings so I’m not sure how we go from him being a hermit to him wanting to be committed to someone he was sure he disliked even though he was fond of her. 

And she might have the same doubts. Basically a movie!hayffie relationship would have a lot of things to work out. But the thing with movie!hayffie is that Haymitch backstory isn’t explained (is it? I don’t remember. I blacked out most of the things I was disappointed about and boy was I disappointed with the Finnick reveal scene) and Effie’s background is very unexplored so it’s kind of sandbox. I’m too fixed in my own hc and visions of the characters by now but someone else might come up with very various backstories and backgrounds and make it work better than I could maybe...  

If you read all that rambling and made sense of it, I give you a golden star. Maybe I’m way off base though. It’s been a while since I watched the movies. I really didn’t like MJ1 and 2 much. There were stuff I liked, some scenes, mostly papa!H and mama!E, obviously I enjoyed the hayffie... But idk, 13 is too different from what I pictured, not strict enough, and I’m irked every time Coin gives Katniss a peptalk that should have come from Haymitch. The lack of Haymitch is also annoying to me. He’s supposed to be a key player and he’s just in the background. Even Effie is more useful, I feel. 

Anyway, see how my brain works? You ask a question and it jumps in a thousand different directions. I’m not sure I did a good job at explaining my thoughts. 

But do share yours! I’m interested! It’s been a while since we talked headcanons and meta! I’ll put this on the tag if people are feeling like reading ramblings and discussing their own vision... 

All hcs and meta are interesting! 

[readbookywooks]

15 The implications of what Gale is suggesting settle quietly around the room. You can see the reaction playing out on people's faces. The expressions range from pleasure to distress, from sorrow to satisfaction. "The majority of the workers are citizens from Two," says Beetee neutrally. "So what?" says Gale. "We'll never be able to trust them again." "They should at least have a chance to surrender," says Lyme. "Well, that's a luxury we weren't given when they fire-bombed Twelve, but you're all so much cozier with the Capitol here," says Gale. By the look on Lyme's face, I think she might shoot him, or at least take a swing. She'd probably have the upper hand, too, with all her training. But her anger only seems to infuriate him and he yells, "We watched children burn to death and there was nothing we could do!" I have to close my eyes a minute, as the image rips through me. It has the desired effect. I want everyone in that mountain dead. Am about to say so. But then...I'm also a girl from District 12. Not President Snow. I can't help it. I can't condemn someone to the death he's suggesting. "Gale," I say, taking his arm and trying to speak in a reasonable tone. "The Nut's an old mine. It'd be like causing a massive coal mining accident." Surely the words are enough to make anyone from 12 think twice about the plan. "But not so quick as the one that killed our fathers," he retorts. "Is that everyone's problem? That our enemies might have a few hours to reflect on the fact that they're dying, instead of just being blown to bits?" Back in the old days, when we were nothing more than a couple of kids hunting outside of 12, Gale said things like this and worse. But then they were just words. Here, put into practice, they become deeds that can never be reversed. "You don't know how those District Two people ended up in the Nut," I say. "They may have been coerced. They may be held against their will. Some are our own spies. Will you kill them, too?" "I would sacrifice a few, yes, to take out the rest of them," he replies. "And if I were a spy in there, I'd say, 'Bring on the avalanches!'" I know he's telling the truth. That Gale would sacrifice his life in this way for the cause - no one doubts it. Perhaps we'd all do the same if we were the spies and given the choice. I guess I would. But it's a coldhearted decision to make for other people and those who love them. "You said we had two choices," Boggs tells him. "To trap them or to flush them out. I say we try to avalanche the mountain but leave the train tunnel alone. People can escape into the square, where we'll be waiting for them." "Heavily armed, I hope," says Gale. "You can be sure they'll be." "Heavily armed. We'll take them prisoner," agrees Boggs. "Let's bring Thirteen into the loop now," Beetee suggests. "Let President Coin weigh in." "She'll want to block the tunnel," says Gale with conviction. "Yes, most likely. But you know, Peeta did have a point in his propos. About the dangers of killing ourselves off. I've been playing with some numbers. Factoring in the casualties and the wounded and...I think it's at least worth a conversation," says Beetee. Only a handful of people are invited to be part of that conversation. Gale and I are released with the rest. I take him hunting so he can blow off some steam, but he's not talking about it. Probably too angry with me for countering him. The call does happen, a decision is made, and by evening I'm suited up in my Mockingjay outfit, with my bow slung over my shoulder and an earpiece that connects me to Haymitch in 13 - just in case a good opportunity for a propo arises. We wait on the roof of the Justice Building with a clear view of our target. Our hoverplanes are initially ignored by the commanders in the Nut, because in the past they've been little more trouble than flies buzzing around a honeypot. But after two rounds of bombings in the higher elevations of the mountain, the planes have their attention. By the time the Capitol's antiaircraft weapons begin to fire, it's already too late. Gale's plan exceeds anyone's expectations. Beetee was right about being unable to control the avalanches once they'd been set in motion. The mountainsides are naturally unstable, but weakened by the explosions, they seem almost fluid. Whole sections of the Nut collapse before our eyes, obliterating any sign that human beings have ever set foot on the place. We stand speechless, tiny and insignificant, as waves of stone thunder down the mountain. Burying the entrances under tons of rock. Raising a cloud of dirt and debris that blackens the sky. Turning the Nut into a tomb. I imagine the hell inside the mountain. Sirens wailing. Lights flickering into darkness. Stone dust choking the air. The shrieks of panicked, trapped beings stumbling madly for a way out, only to find the entrances, the launchpad, the ventilation shafts themselves clogged with earth and rock trying to force its way in. Live wires flung free, fires breaking out, rubble making a familiar path a maze. People slamming, shoving, scrambling like ants as the hill presses in, threatening to crush their fragile shells. "Katniss?" Haymitch's voice is in my earpiece. I try to answer back and find both of my hands are clamped tightly over my mouth. "Katniss!" On the day my father died, the sirens went off during my school lunch. No one waited for dismissal, or was expected to. The response to a mine accident was something outside the control of even the Capitol. I ran to Prim's class. I still remember her, tiny at seven, very pale, but sitting straight up with her hands folded on her desk. Waiting for me to collect her as I'd promised I would if the sirens ever sounded. She sprang out of her seat, grabbed my coat sleeve, and we wove through the streams of people pouring out onto the streets to pool at the main entrance of the mine. We found our mother clenching the rope that had been hastily strung to keep the crowd back. In retrospect, I guess I should have known there was a problem right then. Because why were we looking for her, when the reverse should have been true? The elevators were screeching, burning up and down their cables as they vomited smoke-blackened miners into the light of day. With each group came cries of relief, relatives diving under the rope to lead off their husbands, wives, children, parents, siblings. We stood in the freezing air as the afternoon turned overcast, a light snow dusted the earth. The elevators moved more slowly now and disgorged fewer beings. I knelt on the ground and pressed my hands into the cinders, wanting so badly to pull my father free. If there's a more helpless feeling than trying to reach someone you love who's trapped underground, I don't know it. The wounded. The bodies. The waiting through the night. Blankets put around your shoulders by strangers. A mug of something hot that you don't drink. And then finally, at dawn, the grieved expression on the face of the mine captain that could only mean one thing. What did we just do? "Katniss! Are you there?" Haymitch is probably making plans to have me fitted for a head shackle at this very moment. I drop my hands. "Yes." "Get inside. Just in case the Capitol tries to retaliate with what's left of its air force," he instructs. "Yes," I repeat. Everyone on the roof, except for the soldiers manning the machine guns, begin to make their way inside. As I descend the stairs, I can't help brushing my fingers along the unblemished white marble walls. So cold and beautiful. Even in the Capitol, there's nothing to match the magnificence of this old building. But there is no give to the surface - only my flesh yields, my warmth taken. Stone conquers people every time. I sit at the base of one of the gigantic pillars in the great entrance hall. Through the doors I can see the white expanse of marble that leads to the steps on the square. I remember how sick I was the day Peeta and I accepted congratulations there for winning the Games. Worn down by the Victory Tour, failing in my attempt to calm the districts, facing the memories of Clove and Cato, particularly Cato's gruesome, slow death by mutts. Boggs crouches down beside me, his skin pale in the shadows. "We didn't bomb the train tunnel, you know. Some of them will probably get out." "And then we'll shoot them when they show their faces?" I ask. "Only if we have to," he answers. "We could send in trains ourselves. Help evacuate the wounded," I say. "No. It was decided to leave the tunnel in their hands. That way they can use all the tracks to bring people out," says Boggs. "Besides, it will give us time to get the rest of our soldiers to the square." A few hours ago, the square was a no-man's-land, the front line of the fight between the rebels and the Peacekeepers. When Coin gave approval for Gale's plan, the rebels launched a heated attack and drove the Capitol forces back several blocks so that we would control the train station in the event that the Nut fell. Well, it's fallen. The reality has sunk in. Any survivors will escape to the square. I can hear the gunfire starting again, as the Peacekeepers are no doubt trying to fight their way in to rescue their comrades. Our own soldiers are being brought in to counter this. "You're cold," says Boggs. "I'll see if I can find a blanket." He goes before I can protest. I don't want a blanket, even if the marble continues to leech my body heat. "Katniss," says Haymitch in my ear. "Still here," I answer. "Interesting turn of events with Peeta this afternoon. Thought you'd want to know," he says. Interesting isn't good. It isn't better. But I don't really have any choice but to listen. "We showed him that clip of you singing 'The Hanging Tree.' It was never aired, so the Capitol couldn't use it when he was being hijacked. He says he recognized the song." For a moment, my heart skips a beat. Then I realize it's just more tracker jacker serum confusion. "He couldn't, Haymitch. He never heard me sing that song." "Not you. Your father. He heard him singing it one day when he came to trade at the bakery. Peeta was small, probably six or seven, but he remembered it because he was specially listening to see if the birds stopped singing," says Haymitch. "Guess they did." Six or seven. That would have been before my mother banned the song. Maybe even right around the time I was learning it. "Was I there, too?" "Don't think so. No mention of you anyway. But it's the first connection to you that hasn't triggered some mental meltdown," says Haymitch. "It's something, at least, Katniss." My father. He seems to be everywhere today. Dying in the mine. Singing his way into Peeta's muddled consciousness. Flickering in the look Boggs gives me as he protectively wraps the blanket around my shoulders. I miss him so badly it hurts. The gunfire's really picking up outside. Gale hurries by with a group of rebels, eagerly headed for the battle. I don't petition to join the fighters, not that they would let me. I have no stomach for it anyway, no heat in my blood. I wish Peeta was here - the old Peeta - because he would be able to articulate why it is so wrong to be exchanging fire when people, any people, are trying to claw their way out of the mountain. Or is my own history making me too sensitive? Aren't we at war? Isn't this just another way to kill our enemies? Night falls quickly. Huge, bright spotlights are turned on, illuminating the square. Every bulb must be burning at full wattage inside the train station as well. Even from my position across the square, I can see clearly through the plate-glass front of the long, narrow building. It would be impossible to miss the arrival of a train, or even a single person. But hours pass and no one comes. With each minute, it becomes harder to imagine that anyone survived the assault on the Nut. It's well after midnight when Cressida comes to attach a special microphone to my costume. "What's this for?" I ask. Haymitch's voice comes on to explain. "I know you're not going to like this, but we need you to make a speech." "A speech?" I say, immediately feeling queasy. "I'll feed it to you, line by line," he assures me. "You'll just have to repeat what I say. Look, there's no sign of life from that mountain. We've won, but the fighting's continuing. So we thought if you went out on the steps of the Justice Building and laid it out - told everybody that the Nut's defeated, that the Capitol's presence in District Two is finished - you might be able to get the rest of their forces to surrender." I peer at the darkness beyond the square. "I can't even see their forces." "That's what the mike's for," he says. "You'll be broadcast, both your voice through their emergency audio system, and your image wherever people have access to a screen." I know there are a couple of huge screens here on the square. I saw them on the Victory Tour. It might work, if I were good at this sort of thing. Which I'm not. They tried to feed me lines in those early experiments with the propos, too, and it was a flop. "You could save a lot of lives, Katniss," Haymitch says finally. "All right. I'll give it a try," I tell him. It's strange standing outside at the top of the stairs, fully costumed, brightly lit, but with no visible audience to deliver my speech to. Like I'm doing a show for the moon. "Let's make this quick," says Haymitch. "You're too exposed." My television crew, positioned out in the square with special cameras, indicates that they're ready. I tell Haymitch to go ahead, then click on my mike and listen carefully to him dictate the first line of the speech. A huge image of me lights up one of the screens over the square as I begin. "People of District Two, this is Katniss Everdeen speaking to you from the steps of your Justice Building, where - " The pair of trains comes screeching into the train station side by side. As the doors slide open, people tumble out in a cloud of smoke they've brought from the Nut. They must have had at least an inkling of what would await them at the square, because you can see them trying to act evasively. Most of them flatten on the floor, and a spray of bullets inside the station takes out the lights. They've come armed, as Gale predicted, but they've come wounded as well. The moans can be heard in the otherwise silent night air. Someone kills the lights on the stairs, leaving me in the protection of shadow. A flame blooms inside the station - one of the trains must actually be on fire - and a thick, black smoke billows against the windows. Left with no choice, the people begin to push out into the square, choking but defiantly waving their guns. My eyes dart around the rooftops that ring the square. Every one of them has been fortified with rebel-manned machine gun nests. Moonlight glints off oiled barrels. A young man staggers out from the station, one hand pressed against a bloody cloth at his cheek, the other dragging a gun. When he trips and falls to his face, I see the scorch marks down the back of his shirt, the red flesh beneath. And suddenly, he's just another burn victim from a mine accident. My feet fly down the steps and I take off running for him. "Stop!" I yell at the rebels. "Hold your fire!" The words echo around the square and beyond as the mike amplifies my voice. "Stop!" I'm nearing the young man, reaching down to help him, when he drags himself up to his knees and trains his gun on my head. I instinctively back up a few steps, raise my bow over my head to show my intention was harmless. Now that he has both hands on his gun, I notice the ragged hole in his cheek where something - falling stone maybe - punctured the flesh. He smells of burning things, hair and meat and fuel. His eyes are crazed with pain and fear. "Freeze," Haymitch's voice whispers in my ear. I follow his order, realizing that this is what all of District 2, all of Panem maybe, must be seeing at the moment. The Mockingjay at the mercy of a man with nothing to lose. His garbled speech is barely comprehensible. "Give me one reason I shouldn't shoot you." The rest of the world recedes. There's only me looking into the wretched eyes of the man from the Nut who asks for one reason. Surely I should be able to come up with thousands. But the words that make it to my lips are "I can't." Logically, the next thing that should happen is the man pulling the trigger. But he's perplexed, trying to make sense of my words. I experience my own confusion as I realize what I've said is entirely true, and the noble impulse that carried me across the square is replaced by despair. "I can't. That's the problem, isn't it?" I lower my bow. "We blew up your mine. You burned my district to the ground. We've got every reason to kill each other. So do it. Make the Capitol happy. I'm done killing their slaves for them." I drop my bow on the ground and give it a nudge with my boot. It slides across the stone and comes to rest at his knees. "I'm not their slave," the man mutters. "I am," I say. "That's why I killed Cato...and he killed Thresh...and he killed Clove...and she tried to kill me. It just goes around and around, and who wins? Not us. Not the districts. Always the Capitol. But I'm tired of being a piece in their Games." Peeta. On the rooftop the night before our first Hunger Games. He understood it all before we'd even set foot in the arena. I hope he's watching now, that he remembers that night as it happened, and maybe forgives me when I die. "Keep talking. Tell them about watching the mountain go down," Haymitch insists. "When I saw that mountain fall tonight, I thought...they've done it again. Got me to kill you - the people in the districts. But why did I do it? District Twelve and District Two have no fight except the one the Capitol gave us." The young man blinks at me uncomprehendingly. I sink on my knees before him, my voice low and urgent. "And why are you fighting with the rebels on the rooftops? With Lyme, who was your victor? With people who were your neighbors, maybe even your family?" "I don't know," says the man. But he doesn't take his gun off me. I rise and turn slowly in a circle, addressing the machine guns. "And you up there? I come from a mining town. Since when do miners condemn other miners to that kind of death, and then stand by to kill whoever manages to crawl from the rubble?" "Who is the enemy?" whispers Haymitch. "These people" - I indicate the wounded bodies on the square - " are not your enemy!" I whip back around to the train station. "The rebels are not your enemy! We all have one enemy, and it's the Capitol! This is our chance to put an end to their power, but we need every district person to do it!" The cameras are tight on me as I reach out my hands to the man, to the wounded, to the reluctant rebels across Panem. "Please! Join us!" My words hang in the air. I look to the screen, hoping to see them recording some wave of reconciliation going through the crowd. Instead I watch myself get shot on television.