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apparitionism · 7 months ago

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Asleep 2

For the anniversary this year, I have the second “half” of my @b-and-w-holiday-gift-exchange story for @kla1991 : an involuntary bed-sharing situation that turns not sexy but disastrous. The first part took on Myka’s perspective; this conclusion is written from the other side of the bed. A confession: I find in-universe Helena’s head voice a somewhat difficult register to compose—because while she can’t be fully insane, she needs to teeter or list, sometimes more than a little (but without falling into histrionics). Which is to say that if you don’t entirely buy the turns of thought and/or coping mechanisms I’ve given her here, your skepticism is well-placed. Ultimately I hope it’s the case that a person can be broken but still want in a way that’s... pure? Justified? Sweet? Reciprocatable? Maybe just “vaguely recognizably human”?

Anyway, this is long, first because it extends well beyond the point at which the first part ended, but also because when a Bering and a Wells get to talking (as they at last do!), they need to work things out at their own pace...

Asleep 2

My arm is asleep.

Under normal circumstances, a person would, upon becoming aware of this, shift position so as to restore blood flow.

Under normal circumstances.

But very little is normal about the circumstances under which Helena’s arm is asleep.

She is in a hotel-room bed, in the dark of night, lying on her left side, with her left arm, her now-asleep arm, pinned beneath her. So ends the disturbingly limited “normal” portion of the situation.

Here begins the larger portion: she absolutely must not move.

Irony guts at her with that, a shiv-and-twist remembrance of bronze restriction—but that prohibition had involved a significantly different auxiliary verb: “cannot” rather than “must not.”

Grammatical particulars aside, her immobility now is barely less a torment. This is because her other arm, her alive right, terminates in an even-more alive sensate hand, one that now rests—but is in no way at rest—on Myka’s right hip.

Myka, too, is lying on her left side, a small distance in front of Helena, lying in this hotel-room bed. Such proximity in such a space might, under other circumstances, signify the fulfillment of a long-held dream... but here, now, it seems a nightmare. For Myka is Helena’s colleague and no more; they are in this bed for sleep and no more; and Myka is playing her part correctly while Helena is not, in contravention of what she has sworn to herself she would do no more.

Such drowsy sense the placing of that hand had seemed to make, when she had found herself facing Myka’s back. She had in the past regarded that length covetously, relishing the idea of touch both salacious and tender.

For all her coveting, however, she had in fact only once laid hands on that back, both hands with intention on the clothed blades of Myka’s shoulders: a terrifying embrace, one that was in the most basic physical manner right but overall searingly wrong, screaming bodily truth but surrounded by words that said nothing they should. A perversion of promise, like so much else that had happened in Boone.

Yet Helena had clung to its memory all the same.

She’d thought, here in this unexpected proximity, to supersede that, to touch once again, once again but brief, once again though brief. To erase and replace.

First she touched the right blade, light; yet her hand wanted stillness, more connection than a mere pat against cotton-clad bone. And there was Myka’s hip, a beckoning promontory jut... a place to rest. Rest, however brief.

Once placed, however, her hand had proved reluctant to retreat.

Brief, she reminded it.

No, the hand had responded. I belong here.

Helena knows this is true. She knows also that it cannot be true.

But she is no stranger to holding contradictory thoughts in her head. This has been essential to establishing and maintaining, in these new Warehouse days, a functional equilibrium. Functional. Indeed her goal, in this “reboot,” has been to function, which she has lately defined as something on the order of “to move through time nondestructively.”

This definition had come about due to her realization, pre-reboot, that her difference from others, her inability to fully perform a modern self—her arrogance about that inability, even as she attempted to hide both the inability and the arrogance—chipped at, chipped from, the good (the good nature, the good will, the goodness) of those around her. Over time, such chips accrued as wounds.

Nate. (Adelaide.) Giselle.

She had as a result finally understood that coming back to the Warehouse would mean, at the very least, that those with whom she interacted had already made a bargain, perhaps even a peace, with the inevitable violence of history: with the way the forces of the past could—would—affect, even infect, the present. Helena herself was, at her simplest, merely one more of those forces.

She did consider requesting that she be re-Bronzed, now absent any pretension of traveling through time, but rather as a way of neutralizing a dangerous, and demonstrably unstable, artifact. But then an image had come to her, possibly as an omen, possibly as only a desperate wish: Myka’s devastated face upon hearing such news.

Boone all over again.

Thus the reboot. Because the most significant entry under “function,” with additional emphasis on the “nondestructive” portion of that definition, was her resolution to spare Myka pain. In the past, Helena had been both careless and careful—surgically so—in her infliction of damage on Myka above all others. But she had sworn to herself that those days were done.

Done, but Helena knew she had not paid anything near a sufficient price.

So. To maintain distance, no matter how troublesomely ardent her wish to close it, was—had to be—part of her penance. And to do so decorously was—had to be—the gentlest approach. That was what Helena told herself in her more rational moments.

This moment, in this bed, is not one of those. If it were, she would simply remove her hand. Simply remove it, then roll over.

But her mind races, finding complication: She doesn’t know what sort of sleeper Myka is. Had Helena’s placing of hand awakened her? If she had awakened, has she now fallen asleep again? If she has, would she then be reawakened by the hand’s removal? Or would she, if still awake, draw some negative inference about the entire situation based on removal?

Ideally, Helena would maintain a facsimile of entirely blameless sleep while engaging in that removal, but can she make such a performance believable?

Never in her life has Helena been so concerned about her ability to mislead convincingly as when she has attempted to deceive Myka. That was the case in the past, even at her most nefarious, and now she worries day-to-day that her strictly disciplined disguise of near-constant wishing ache will slip and fail. A simple I am asleep should be... well... simple. But it is not, and Helena is reminded of Claudia’s tendency to observe, in situations both dire and banal, “Here we are.”

Here we are, because Myka is apparently indifferent to the idea of sharing a bed with Helena.

Here we are, because Myka is apparently indifferent to history.

Here we are, and that latter indifference is a surpassing irony, due to the fullness of—

Helena sees that she needs to divert her train of thought, as descending into unjustified anger will help absolutely nothing.

First, she entertains a fantasy of sitting up, turning on a light, and explaining to Myka that this entire situation is untenable, and that if they are going to share a bed, they should share a bed. But it’s true that Myka did not seem even to consider that as a possibility, which seems ludicrous, given the past... no, that’s back to unjustified anger, for who is Helena to resent what Myka wishes not to consider? And indeed, who is she to interpret the past in such a way as to believe she understands what Myka would have considered?

Focus on the facts, she tells herself. What actually happened in that nefarious past. And do so dispassionately.

Regrettably, the word “dispassionately” brings to mind another word: “passionately.”

Again. For she had thought that word not long after she and Myka had first entered this room, first entered it to find, as Helena’s unrestrained fantasies might have conjured, only one bed. That they were clearly intended to share. Thus her mind’s unruly leap to... an adverbial manner in which they might do so.

But Myka had said not one word about the accommodations, so Helena had held her tongue as well. She nevertheless couldn’t help but feel it an elaborate lack of remark on both their parts, the silence practically baroque in its fullness.

Baroque too had been the courtesy with which they jointly prepared for bed, a you-first-no-you stutter-choreography of politeness that ensured privacy, yes, but also reinforced the barrier between their past and their present.

Which Helena understood was necessary. It did nothing, however, to mitigate the breath-hold of preparing to lie down beside Myka.

Once she had managed that lying down, however (with a relative aplomb for which self-congratulation was not, she felt, unjustified), she hoped her torment might ease. A bit. If she could manage the additional task of pretending the body beside her was no more significant than any other human. Some flesh, recumbent.

But when they were situated thus beside, Myka spoke. “You seem a little upset,” she said.

Helena had barely been able to restrain a snort. Now Myka saw fit to comment? As if allowing this portion of the play to pass without remark would create some undue strain upon collegiality? As if their incongruous bonhomie might buckle under the weight of that silence? Oh, that was rich.

Bottling her pique, Helena questioned: “With?” To make Myka say it. Mere saying wouldn’t hurt. Would it?

“You haven’t been yourself since you put that camera in the static bag. Was it a problem, seeing it again?”

Helena held herself rigid so as to keep her body from betraying neither her disappointment at the question nor, contradictorily, her relief...

It was a reasonable question. A good question. Not one on which Helena particularly wanted to focus (although it indicated a certain attention on Myka’s part, an attention on which Helena suspected she should not dwell), but it did deserve an answer. “It closes a door, doesn’t it,” she told the ceiling, for turning her head to address the other body directly seemed an invitation to peril. “That one I opened so nefariously, long ago.”

“Or—and—maybe it closes a loop,” Myka said.

Unexpected. “A loop?”

“Right after college, I went through a self-help phase,” Myka said. She paused, and Helena found herself on relative tenterhooks regarding the applicability of this (new!) information to the current situation. Which reminded her how much she had missed talking with Myka... because of the very sound of her voice, yes, but also because her conversation could range so unanticipatedly. So rewardingly unanticipatedly. Helena had known few people who could lead her on such unpredictable, yet productive, journeys.

Was Myka’s apparent willingness to begin such a journey now indicative of... anything? A softening, perhaps, of relations between them? Not a rebooting of their once-burgeoning intimacy, for that had to remain taboo, but could it be that some restoration of their previous intellectual engagement might be, at the very least, neutral rather than harmful?

Helena had moved a tentative pawn in that direction during their conversation on the airplane. Perhaps this was Myka’s answering move?

With an exhale that seemed like resignation at what she was about to say—to reveal?—Myka said, “I felt like I needed to be someone different—someone better.”

Another pause. Helena considered that such a feeling seemed very Myka (and she heard that phrase in Claudia’s voice), but also very misguided. Of course she was not at all placed to make such judgments, and even less so to convey them to Myka. Thus she said a simple, “Did you,” to encourage without prejudice.

“So I read a lot of books,” Myka said, to which Helena had responded internally, Of course you did. “One was about how to get things done.”

“All things?” Helena asked.

“Sort of.” That was followed by yet another pause. Yet another puzzle.

All these pauses. Was Myka on the verge of sleep? Helena said, soft, thinking she might go unheard, “Perhaps I should read that book. As a help to myself.”

At that, Myka had laughed, more delay, but also soft. “I don’t think it’s any kind of help you need. The guy who wrote it had a big system, all these rules, and I love rules, but these... I admit I didn’t stick with most of them. Honestly, any. But an idea that did stick was actually a pretty minor part: open loops. Stuff you track subconsciously, all the time, because it’s incomplete. How troubling that is. And what a difference it makes when you close a loop, when you each a resolution. I mean, he was talking about stuff like answering emails.”

“Emails,” Helena echoed. So far from artifacts.

“Which this is so much bigger than,” Myka said, exhibiting, not for the first time, an uncanny ability to scoop from Helena’s thoughts. “But maybe the principle holds. You don’t have to tell me. But I hope you have fewer open loops now than you did. Before.”

“Yes. The number. Fewer,” Helena said, factually.

She of course couldn’t say out loud (but it was equally factual) that Myka herself was the loop most capaciously open. The one that gaped, superseding, never mind the number of lesser.

Indeed, however, that number was now minus-one. Oscar. Oscar and his ballad... that loop closed.

Helena had in fact, while handling the camera, begun to ideate a wish that someone (Steve? Claudia?) might be persuaded to use the camera to capture her image... for it had occurred to her that a spark of art, some production on which to concentrate, might animate this reboot... something to pursue, rather than to be pursued by...

But. Lying abed, still and strangely hopeful—a state she should have known would not endure—a realization had struck her, as an open hand to the face, a realization of why Myka had brought up loops and the closing thereof: she had somehow discerned Helena’s wish, via that scooping of thought, and was discouraging her from pursuing it.

So much for any softening. This was instead a warning: Helena should not open a loop that Myka might be obligated to close. And Helena had no trouble grasping that the warning was in no way limited to the use of a single artifact... no, it doubtless applied to any burdensome loops Helena might be thinking of opening, any new incompletions that might come to trouble Myka.

“I understand,” Helena had said, regretting that pawns could not be moved backwards.

At the same instant, Myka said, “I’m glad.”

That collision had canceled communication entirely; in its wake, Myka had turned out her light and turned away from Helena.

Leaving Helena to her thoughts.

Well, fine, had been the first of those.

Next had come an equally mulish sniff of And I will have no difficulty directing any subsequent away from this shared bed.

Whereupon she had proven herself both wrong and right, thinking about history, about the fact that, whatever Myka’s commentary or lack thereof had or hadn’t signified, the fact of Warehouse agents lodging together, sharing beds completely platonically, was certainly nothing new.

This line of thinking had enabled Helena to distract herself by recalling a mission with Steve and Claudia, one in which Steve had announced, after checking in at their hotel, “Bad news. Just a king room left, but they said they’d bring up a cot.”

He had then immediately assigned Claudia to said cot, prompting her to protest, “No way! This situation screams rock-paper-scissors tournament! Loser gets the crappy night’s sleep!”

“No way,” Steve protested back, far more mildly. “The father of science fiction gets first dibs on the lumbar support, and my back’s got a decade on yours, so I call second. If that father agrees.”

Helena had. Sharing with Steve had been fine.

Sharing with Myka should of course have been no different.

Should of course have been...

But now, here in the impossible present, as Helena’s left arm slumbers and her right hand sparks, what should have been? Isn’t isn’t isn’t.

She needs further distraction, so she casts her mind again to Claudia and Steve, to the compensations they have offered her during this strange and estranging reboot: at first Claudia, who had welcomed Helena back so unreservedly and continues to offer wholehearted allyship; and then Steve, who had quickly become an unanticipated boon companion, a partner upon whom Helena has felt increasingly, and increasingly exceptionally, lucky to be able to rely.

And yet these compensations, though Helena hopes she conveys all appropriate gratitude for them, are never sufficient, for Myka—necessary yet unreachable—is always present.

She’d been so, even during that cot-delineated retrieval. Its aftermath had (so much for distraction) involved a significantly Myka-related incident, for Helena had dared, as she, Steve, and Claudia were relaxing in the hotel lounge prior to retiring, to broach Myka as a topic of conversation. As one might do, she’d thought: speaking about a colleague.

“I have an inquiry,” she’d phrased it. To make the ensuing question sound... scientific?

Dispassionate, she jeers at her recalled self.

She jeers also at what she’d said next: a too-bald, “How is Myka?”

She had known, even at the time, that what she had truly wanted was to say that blessed name, to speak about that blessed person. She could not speak to Myka in any meaningful way, and she was starving.

Steve and Claudia had then shared what seemed an extremely charged glance, so Helena hastened to dissemble, making sure to use questions so as to prevent Steve from finding her immediately untruthful: “Given that her liaison with Pete ended? They’ve... recovered, as it were? Both faring well?”

But her tone had struck her own ears as too bright; a desperation rippled behind it, and Helena knew from experience that behind that tiptoed a still deeper threat of rupture, which required work to be kept at bay. As Helena had been instructed by her most successful therapist to do when such awareness overtook her, she began to breathe with attention.

Neither Steve nor Claudia spoke as she did so.

When the danger passed, she smiled, as best she could, to signal to them her appreciation—and to herself, her success.

Steve then said, “You’re not asking about Pete.”

Helena valued—as a personality trait—Steve’s discerning willingness to push. She did not in that moment value how he thus so easily revealed a glaring flaw in her initial approach: she should have asked about Pete; with that as her entrée, the talk might organically have turned to Myka. Foolish of her to think so unstrategically... or was her failure to do so a paradoxically positive sign?

“Give it time,” Steve said, and Helena knew he was making no reference to Myka and Pete’s recovery.

“My relationship to time,” she said, with contempt. Time: she’d taken it. Now she had to give it? A forfeit. Well, that was fair.

Claudia said to Steve, “Speaking of, we’re wasting it. Are we gonna do the thing?”

“Only if H.G.’s on board,” Steve told her. It was an unexpectedly mind-your-manners utterance.

“What is the thing?” Helena asked.

“Claudia’s trying out alcohols,” Steve said. “We can’t do it around Pete, obviously, which means retrievals are our—”

“So many questions to answer, right?” Claudia interrupted, her avidity increasing. “You know, am I über-suave James Bond with the martinis? Or a fights-against-my-general-cool-geek-vibe Carrie Bradshaw with a cosmo?”

Helena had had no idea what she was referring to, but the investigation seemed entirely fit for someone her age. “What have you determined thus far?”

“Turns out cosmos don’t work for me,” she said, “as the prophecy foretold, and Bond-wise, I like a martini all vodka, no gin; sorry, Vesper.”

“Is that all?” Helena asked.

Further avidity: “Oh god no. Vodka drinks aren’t perfect: white Russians are way too sweet. Also in the white family, the wine category pretty much bores me. Also there was this one time Steve ordered a gin drink called a white lady that I couldn’t even think about because it had an egg white in it and one look made me retch.”

“Quite the wide-ranging experiment,” Helena said, hoping to forestall further off-putting description. “Not conducted with inappropriate... ah... intensity, one hopes?”

Steve patted Claudia’s shoulder, at which she rolled her eyes. “I’m supervising,” he said. “No more than a few tries in one sitting, and we’re doing it mindfully.”

Claudia abandoned her attitude and nodded. “Paying attention to what I’m tasting. How to find, you know, notes and stuff. Except for the disgusting egg-white thing, it’s honestly been fun.”

“I’m not opposed to fun,” Helena said, and she was a bit surprised—but pleased, and pleased to be pleased—that Steve didn’t squint in response. “So, Mr. Supervisor, what’s next?”

“I’ve been pushing for the wide and wonderful world of beer, but—”

“Seems too jocktastic,” Claudia said. “You know, ‘Beer me, bro.’”

“I don’t know,” Helena said.

“Anyway that’s really not me,” Claudia continued, as if Helena hadn’t spoken. She did have a tendency to ignore Helena’s ignorance, a tendency that Helena enjoyed and found frustrating in equal measure.

“Her beer perspective is severely limited,” Steve lamented.

“I myself have always found a strong stout ale quite enjoyable,” Helena said: her contribution to Steve’s cause. It was also true, the fact of which he seemed pleased to affirm with a quirk of lip and a quiet “so you have.”

Claudia’s expression remained skeptical, but she shrugged weakly and said, “I guess I could give it a shot?”

“Oh, because H.G. says so,” Steve twitted.

To that, Claudia squared her shoulders. “Yeah. Don’t you know who she is?” she demanded.

“Who I was,” Helena hurried to emphasize, “and given that Steve assigned me the bed on that basis, he—”

“Who you are,” Claudia corrected, throwing the emphasis back.

“And who is that?” Helena asked. What distinction did Claudia imagine was relevant?

“The person who told me my destiny was glorious. You’re still that guy, right?”

Relevant indeed. Helena was taken aback, indeed taken back to that extremity, back in a novel way. She had been so mired in the Myka of it all in the intervening time, that she had lost her view of the bright salience of Claudia’s presence. Wrongly. “I am,” she said. She hoped Claudia believed her.

“Okay,” Claudia said. “So I’ve got this big-as-Pete’s-biceps incentive to hope the stuff you say is true. And by the way, one of you has to casually drop in front of him how I said that, because I want the points.”

Steve snickered and said, “I know my job. But in the meantime, I think I’d like to toast to all these sentiments, and to the agents offering them. With a strong stout ale.”

They tasted the three strongest the hotel bar had on offer, and Claudia pronounced that her favorite, one purporting to convey roasted notes of coffee, chocolate, and other darkness, was “way too complicated for your average broseph.” Which Steve seemed pleased by, as a judgment, so the overall experience scored a success.

There was no further talk of Myka, however, the avoidance of which topic seemed quite deliberate... as if Steve and Claudia had determined that Helena would not benefit from it.

Or that she did not deserve it.

For the best, Helena had concluded. Either way.

Now, in a similar “for the best either way” sense, she makes to raise her hand, with that intended overlay of feigned sleep, so as to shift away and at last regain equilibrium, restoring feeling to her sleeping arm and calming that oversensitive hand. But instead—in what she can interpret only as a stupidly id-driven attempt to bank some never-to-be-repeated sensation, to the memory of which that desperate id might cling in a touch-deprived future—she moves her hand, not away from Myka, but further down her leg.

And her worst fears are instantly realized: Myka’s body reacts violently, as if in revulsion at the very idea of Helena touching her.

It was only a hand at rest, Helena begs, with no conception of why or to whom she is rendering that supplication. That was all.

Alas, that was—is—not all, for in the next split second Myka is falling from the bed and crying out in pain.

Helena, at a loss, attempts a faux-innocent inquiry, which Myka answers unintelligibly. In trepidation, Helena ventures to the mattress-edge, then lowers herself to the floor next to Myka—and she is appalled, for the situation that confronts her is all debility, even more so than the absurd “my arm is asleep” with which this farce began: Myka’s shoulder is dislocated.

Further, Myka is now unconscious.

Spare Myka pain. How utterly unsurprising Helena finds her inability to obey such a dictum in even this most basic physical sense.

Unsurprising... worse, dispiriting, and it brings her low, such that again the incipient rupture asserts its subterranean power, urging Helena to give up, to run away and leave this broken Myka to someone else to bind up and save.

You’ve done it before.

That resounds in her head as both accusation and affirmation, and the voice pronouncing it might be Myka’s, or some deity’s, or that of any of the other personages who jockey audibly for primacy in that space, including Helena’s own.

She initiates breathing with care, even as an eddying undertow tempts her to entertain the notion that escape, too, might be rebooted, tempts her to entertain and revel in its ostentation as a response to Myka’s indifference, her rejection of history, even her revulsion.

Here is my answer to all that, a departure would declare.

Helena labors to breathe herself away from such perfidy, but the scenario creeps along, with an undertone of sinful relish, as she imagines leaving Myka to awaken alone and in pain.

But then—because her labor leads her there—she further imagines the various permutations of “someone else” who might be called upon to save the day in her absence. Whereupon the thought strikes her that moving through time nondestructively requires her to think seriously of, and to think seriously out, such knock-ons... how, for example, would Steve and Claudia respond to having to clean up this mess, knowing that Helena had made it?

Moving through time nondestructively. Interesting, here, the overlap with moving through time selfishly: selfishly, she does not want to destroy Claudia’s image of her as someone whose opinion matters. She does not want to destroy Steve’s image of her either, for it seems to have at least some positive components. Further, she does not want to destroy the fellowship they three are building.

If for no other reasons than those, she concludes that having caused this quite specific damage, she must fix it.

Because she can.

The fact of the matter is, Helena cannot fix most things. She has tried mightily to maintain the pretense that she can... but she has been forced over and over to confront the absurdity of that bravado. This very specific fix-it, however, she can perform. And while that performance—inconveniently, in the present circumstance—requires touch, here it can be functional. Perhaps in success she might in some way efface her earlier invasiveness...

Yet she can do nothing without two functional arms. She thumps her still-insensate left against the bed, hard—too hard, for Myka’s eyes open. She mumbles out something Helena decodes as “whatareyoudoing.”

“Preparing to remedy a situation,” Helena says.

“Okay.” Myka murmurs. She seems oddly comforted by the answer, to such an extent that she relaxes, losing consciousness again.

That’s fortunate, given the required manipulation.

Helena prepares herself to do it quickly, efficiently, as she has done in the past... rather dramatically on one occasion, as she recalls, for an agonized Wolcott... but she should not think of Wolcott. For the regret.

She sets that aside, preoccupying herself instead with the necessary activity. Her manipulation, determined and strong, is rewarded: what begins as a sluggish resistance resolves into a slip-pop of relocation, one that shudders a familiar path through her own bones. She then cushions Myka’s arm with a fresh towel and uses a pillowcase to fashion around it a tight sling.

Levering Myka up onto the bed would most likely cause further injury, so Helena sits beside her on the floor, ensuring periodically that she continues to breathe. The wait is calming, cleansing, its peace a renewal of a soothing activity of which Helena has been long deprived: observing Myka closely, at actual leisure. At no point since her return—so at no point in, literally, years—has she had such an opportunity.

She’s reminded, in that observation, of the true fundament: this precious person. Who could never be merely some flesh.

After a lengthy time, during which Helena is pressed to consider, to remember, to value Myka’s singularity, that precious person’s eyes flutter open.

That person tests her bound arm, a tentative physical investigation that approaches elegance in its delicacy.

But Myka’s delicacy and elegance, too, Helena should not think of. For the regret.

“I’m not in the hospital,” Myka burrs.

Reasonable, practical. This is what Helena should think of. “Not yet,” she says. “But we’ll go if necessary. If you’re in pain.”

Myka’s face contorts. “Not if. I am. Some. More than some. I’m sorry.”

“For being in pain?”

“That. But also, for changing this whole thing.”

Helena leaves the latter alone, for she cannot begin to interpret it. Focusing on functionality, she asks, “Can you dress yourself?”

Myka nods, but she winces far too much with even that motion, so Helena screws her courage to it and says, “I’ll change and then help you.”

Herself, fast, then Myka: Functional, she snarls internally as she addresses the situation, and even faster. She’s relieved to find that Myka’s trousers and boots are less complicated than she’d feared, and as it happens, preventing Myka suffering additional physical pain—even while undressing and redressing her!—is, paradoxically or not, far easier than navigating emotional shoals, or even hand-on-hip physical shoals. Focusing on Myka’s face for twists, listening for labors in breath, adjusting accordingly... it’s distractingly, satisfyingly concrete. Only the present moment matters.

Only the present moment matters. This is the mantra Helena iterates internally as they proceed to the nearest urgent care facility.

Yet as they wait there for attention, Helena finds herself increasingly unable to ignore why they are waiting there for attention. In the present moment, which matters. She begins—or does she intend it as an ending?—with, “I’m assuming you flung yourself to the floor in an attempt to escape a circumstance.”

Myka hiccups a laugh that makes her cringe in protection of the shoulder. “That’s weirdly accurate. As an assumption.”

Helena recoils at the confirmation, but she must acknowledge it. “A circumstance in which I touched you in a way that was unwelcome,” she agrees, with gloom.

“Unwelcome,” Myka echoes.

It’s so... definitive. It was one thing for Helena herself to think it, believe it, say it aloud. Quite another—though it shouldn’t have been—to hear it from Myka.

A punctuating end to what never truly began between them: there is some consolation, if only philosophical, in the idea that after so many starts that were false, they may at least enjoy a finish that is true.

“Of course it was,” Helena says, following with, “and how could it have been otherwise.” She puts the final period upon it by adding a bare, spare dig: “Given history.”

Myka closes her eyes... in acceptance of the cut? When she opens them, they are glistening. Tears? Helena is egotistically gratified by such a response, never mind that it means she has yet again failed to hold to her resolution.

“Helena,” Myka says, and now Helena is gratified simply by Myka’s low utterance of her name. Myka does not always use that deeper voice, and Helena does love (yes, love) the rare pleasure of hearing her name in it. “I’m so tired,” Myka says next.

That is less gratifying. It’s yet another utterance Helena should leave alone; of course Myka is tired. But in what she is sure is a mistake, Helena says, “Of?”

“Everything. But particularly, you.”

A dagger, that was. A cut back. Testimony to Helena’s concatenating mistakes.

“This you,” Myka adds.

The additional twist of blade leaves Helena unclear on the devastation Myka intends. “Of course” is all she can think to say.

Myka closes her eyes and exhales heavy, a near-sob. “Sorry. Sorry. Sorry,” she intones, but what need has she to apologize? “That was the pain talking—or, no, I still know you well enough to know you’ll hear that wrong. What I mean is, I’m saying something I could keep holding back if the pain wasn’t cracking me open.”

The pain. Cracking her open. Which would never have happened in the absence of Helena’s stupid, thoughtless touch. Which in turn makes abundantly clear that the stupid, thoughtless person who applied that touch is the “this you” Myka means.

If Helena is to remain in this situation she must take measures, so she lengthens her inhales and exhales, entirely ashamed both at needing such a crutch and at having to exhibit that need.

After a moment of silence, Myka asks, “Are you breathing differently than you were just a second ago?”

Myka isn’t Steve. Helena could at least attempt to lie about this, to cloak her shame... but it’s effort, either way. “Yes,” she says, choosing the unpredictability of Myka’s interpretation over the unpredictability of her own performance.

“Is that good or bad?” Myka asks. “Or both?”

The questions stop Helena, stop her in the same way her at-leisure observation of Myka had. I still know you well enough, Myka had said, and it is true. This is why, Helena would say if she could. Your knowing to ask that.

But she can’t say it, and, worse, she doesn’t know what she should say. What should come next.

Apparently Myka doesn’t either. That not-knowing persists, hanging, until “next” arrives, as an intrusion from outside their suspension: medical attention is at last directed Myka’s way; she is escorted out of the waiting area and taken elsewhere.

“We’ll call you when you can see her,” Helena is told.

Alone in the waiting area—for no other human seems to have suffered damage this night—and uncomfortably situated on a hard plastic chair, she tilts her head back against a similarly unforgiving plaster wall.

She closes her eyes. She’s had no rest, no rest for so long. She is drained. Physically empty.

Philosophically as well.

She imagines trying to sleep... or rather, she imagines not trying to remain awake.

Doubtless futile, either way.

She next imagines constructing an airtight argument that could not help but persuade all who hear it—Myka in particular, but all others as well—that this entire situation is Artie’s fault.

Also futile.

This despite its being the fact of the matter, for indeed he did bring the situation about. Perhaps not in a proximate sense, but in the ultimate... the idea of which, after a moment, strikes her as both comic and tragic: Artie as the ultimate cause? Of anything, from the universe on down? Though he would doubtless like to imagine himself so... even at the Warehouse, however, he must be not even penultimate, given the bureaucracy that sits over the entire concern...

Helena thus spends the bulk of her time in the waiting area stewing about—stewing over? stewing under?—the relative positions of god, Mrs. Frederic, and various Regents in the universe. None of it, however, requires her to alter her breathing; rather, she composes in her head the opening paragraphs of several publishable monographs on these and related topics. It isn’t restful. But is evidence of something other than emptiness.

When someone does at last call her to see Myka, everything has changed.

Well. Not everything. Helena herself hasn’t, as her bureaucracy-pantheon thought may have been philosophically valid but made no difference.

Myka, however, has changed entirely: her arm is now professionally dressed, but more importantly, the knit of pain has left her face. “They medicated me,” she says, giving the word “medicated” a rapturous cast. “The X-rays said I didn’t break anything, so we’re waiting on results of a scan to see if I need surgery but in the meantime I feel better than I maybe ever have in my life and I am so happy to see you. All these doctors were like ‘why did she think she could fix you’ but I knew why and it was because it’s you. and that scan? It’ll shout out how Helena Wells relocated Myka’s shoulder so she didn’t need surgery, and they don’t know this, but actually H.G. Wells relocated Myka’s shoulder, which is even more amazing. Wait, that’s not more amazing. You’re the most amazing when you’re you than when you’re that guy. Even though I guess you are that guy. Sort of. Wait, Claudia’s been saying ‘that guy’ a lot now. And I cut and paste from her so much, but I don’t like it. The way things are.” She heaves an enormous sigh and blinks at Helena, as if she’s just re-understood that another person is present.

Is there some ideal way to answer this flood? Helena settles for an antiseptic “I’m pleased to see you out of pain.”

Myka gasps and flails wildly with her uninjured arm, which gesture eventually resolves into an index finger directed at Helena. “That’s it exactly. I’m out of pain. All out. No more pain to give. Particularly not to you. So saying I’m tired of you? I regret it, and I apologize for it, and I promise that’s the end of it. I was wishing to get something back, and you don’t want it back, and so I have to be fine. Without it. Without you.”

Without you. Helena supposes she should be impressed by how concisely Myka can foreshadow disaster. “Should I not... be here?” She braces herself for the answer.

“Of course you should. I have to be fine without how you were,” Myka says, very quietly. The collapse of her volubility gives Helena pause.

She knows it would be better not to probe; she ought to, as Claudia says, “take the win.” But “Of course you should” is only facially a win... “How was I?” she asks. To wound herself by making Myka clarify what has been lost.

“Oh, how you were...” Myka says, her words dragging. How much—any, all?—of this might be due to the varying effects of the medication? “Putting me into this story,” she continues. “It was so big, and I didn’t understand what it was, really or at all, but it felt so big. Yearning and tragedy, and there I was, still me, but in it, so in it, all in it, next to you. Bigger than life, and I... loved it? Needed it? Something to take me over. But my wishing for any of it back, when of course you don’t?” She raises that free arm, then lets it fall. Futility, it says. “So small. Only somebody little and desperate would want to make you revisit any of that.”

Medication effect or not, Helena can’t let Myka keep on with this. “Make me revisit it? Yearning and tragedy? I’m the one who inflicted that, and with malign intent; I damaged you. And I cannot imagine a scenario in which that debt is discharged.”

Myka squints. “Debt,” she says, as if articulating a new noun, but not one that names an abstraction; no, this thing is big and blunt, a dumb object that takes up space. Unfunctional furniture. That I carry on my back, Helena moods.

“Oh!” Myka then yelps, her tone shifting to excitement. “But I just damaged myself. So now we’re even!” She delivers that last bit big and broad, for all the world as if she’s the comic lead in a panto.

Helena has not spared a thought for panto in years. “That makes no sense at all,” she says, because it’s the case, but also to scorn the memory. This is no time for that past.

“Would you like me to dislocate your shoulder?” Myka asks, as if it were a reasonable proffer. Still comic, but now strangely sincere.

Helena meets this bizarrely compelling, ridiculous combination with as much severity as she can muster. “Honestly no. I would not.”

“I see,” Myka says, and she points again, this time without preambling flail. “Some prices you aren’t willing to pay.”

Helena can at the very least be honest about this. How nice it would be if Steve were here to verify. “Willing to... in the sense of volunteering to? No. In the sense of understanding that I deserve to? Certainly. So do me damage if you must. In particular, do me damage if you think it could even the score between us. It won’t, but if you think it could? Please do.”

“That’s pretty twisted,” pronounces the only arbiter who matters.

“You sound like Claudia again,” Helena observes. To push the judgment away? Yes, and she tries to make certain of it with, “Is that another cut and paste?”

“Maybe. But now that I think about it, she sees things pretty clearly a lot of the time. Don’t you think?”

“I would like to think,” Helena is compelled to admit. Hoist by her own petard.

At this point—suspending any resolution—a doctor reenters the curtained area. “Good news: no surgery,” she tells Myka.

“See, I told you she fixed it,” Myka preens.

“You did,” says the doctor. “Several times,” she adds, dry.

Helena says “I’m so sorry,” only to hear Myka say, at the same time, “Sorry not sorry!” Another echo of Claudia... this one, however, clearly heartfelt.

The doctor turns to Helena. “Don’t try anything like this again. You got ridiculously lucky.”

“That’s kind of her M.O.,” Myka says. “Except when it isn’t.”

The doctor sighs. “I’m pretty sure that’s my point. And listen, make sure to follow up with your local doc. They’ll prescribe a ton of PT, so brace yourself.”

Myka snorts. “Brace myself? Sure, but not for the PT; my boss is going to flay me alive.”

The doctor barely reacts. “Oh, maybe this one can fix that too,” she deadpans, directing an eyeroll at Helena, accompanied by a murmured, “not a suggestion.”

“Oh, she’s in for the flaying,” Myka says, with more than a little cheer. “If not for this, then for something. Eventually.”

The doctor shakes her head, eyes unfocused. “Good news for me: I don’t have to care.” She points at Myka: “You go to PT.” Now at Helena: “You don’t try to practice medicine.” At both of them, her eyes flicking back and forth with purpose: “Got it?” Helena nods; she senses Myka doing the same. “Excellent,” the doctor says. “Or whatever. I’m done with you now.”

She conveys with her rapid exit that interacting with both of them has been a most exasperating experience.

While Helena does not appreciate being chastised—and especially not for attempting to care for Myka—she does appreciate expertise. Especially when it contributes to Myka’s well-being. It’s a conundrum. “I find your doctor’s aspect strangely appealing,” she says. “Speaking of bracing.”

Myka grins. “I was totally thinking the same thing.”

“And yet I would practice that medicine again.”

“For me that’s good news.”

As they prepare to depart, Helena says, “I confess I’m curious as to what you intend to tell Artie.”

Myka offers a slight stretch of her right shoulder in the direction of her ear: the only version of a shrug available to her, bound as she is. “Maybe I should leave that to you. You’re the writer.” Forestalling Helena’s reflexive objection, she adds, “I know, I know. The research. The ideas.”

“And yet I don’t have any. I certainly don’t see a path to inventing anything that would—”

“How about I take your photo with that camera? Think that’d help?” This is accompanied by a different grin: sly.

Whither the warning? Or is this a test? Myka isn’t Steve, yet Helena goes with truth: “It might. With any number of things.”

“If only,” Myka says, inscrutably. “Anyway I intend to tell Artie that this is all his fault, because he sent us on this retrieval in the first place. Obviously I won’t say what really happened.”

While Myka bestowing such grace is not surprising, it moves Helena all the same. “Thank you,” she says.

Myka opens her mouth, then closes it. She does it again. This wait... it’s grace too. “You’re welcome,” she eventually says. “I mean I’m tempted to tell him how you saved the day—the arm—but I know I shouldn’t, because I don’t want to draw attention to the hotel charging us extra.” To Helena’s quizzical eyebrow, she says, “For the missing towels and pillowcase. Which I tried to talk the nurses into giving back to me, but they’d already tossed them as hazardous waste. Or something. Or maybe I’m just not very persuasive? Or clear in what I’m asking for?”

Helena would very much like to explain that her own answers to those questions are negative and affirmative, respectively: no, you are persuasive; but yes, you are unclear.

“On the other hand, they did medicate me,” Myka says, perking up. “I keep thinking it’ll wear off, but not yet!”

The consolations of intoxication. “To the delight of your shoulder I’m sure,” Helena says. To my delight as well, she wishes she were free to say.

Their return to the hotel room offers another “everything has changed” hinge: no longer a stage for new and awkward performances of politesse, the space is now familiar, a place they have reentered. For the next act of the play?

Myka, who has preceded Helena in, stops and sways—just a bit, but Helena instinctively steps close, taking her by the elbow of her uninjured arm with one hand, stationing the other around the curve of her waist.

She feels Myka’s breath catch at the contact; immediately, she curses herself, loosens her hold, and says a terse, “I’m sure you want to lie down.”

“More than maybe anything. Or, wait, no, not anything.” Myka turns and catches Helena’s eyes with hers, but Helena cannot use that gaze as the basis for any inference.

She backs away as Myka lowers herself onto the bed; eventually, she backs her way into the room’s one armchair. It lacks give. It also lacks arms at a height that might provide anything resembling support. Helena slumps down, trying to be grateful that it exists at all.

Long minutes pass. As in the hospital’s waiting area, Helena imagines trying not to remain awake.

Similarly futile.

She chances a glance at Myka, who meets her eyes again and says, “That looks uncomfortable. Or what I mean is, you look uncomfortable. Which honestly is pointless, unless you’re doing some hair-shirt thing, because we’ve got this big bed. Not a lot of hours before we have to leave it, but we’ve got it for now.”

“That went poorly before.”

“I think circumstances have changed. Don’t you?” Weighted.

Circumstances are always changing, Helena could say. Usually for the worse. Instead she ventures, “You’d let me lie down with you?”

“I never wouldn’t.” Myka squints. “Wait. Did that come out right? Anyway, yes.”

Medication: not yet worn off. “You’re sure?” Helena asks.

“I’m pretty sure this bed is almost as big as a field where Pete’s favorite sport happens. It’s at least as big as an ice rink anyway, and those aren’t small.”

Helena refrains from pointing out that that was no help in the previous disaster. She doesn’t, however, appreciate being able to recline. For the first while, the fact of being beside Myka is less relevant than the slow loosening of her lower back and hips.

“Can you sleep?” Helena asks, as they are both evidently lying with eyes open to the ceiling.

“Not now,” Myka answers, and the sentiment seems clear: not after all of this. All of this with which we must deal.

The bed first, perhaps.

She turns to look at Myka, if minimally. “Did you request a cot?” she asks, because she doesn’t know. Because the answer might reveal... something?

Myka’s eyes widen. “Oh my god I should have,” she says. Stricken.

“Why didn’t you?”

“It didn’t even cross my mind.” She’s talking more to herself—or perhaps to the room at large?—than to Helena. Is this continued evidence of the medication?

“And do you know why that is?” Helena asks, hoping for that revelation, even if drug-induced.

“Honestly I think I thought I was being given an ultimatum. Like it was something I had to be fine with or else.”

“Fine with ‘or else.’” Helena means the echo as rueful agreement.

But: “Sharing a bed with you. Platonically,” Myka says, taking it instead as a request for explanation.

“Platonically,” Helena scoffs, unable to avoid the idea that agreeing to accept that adverb would, paradoxically, usher in others. (Passionately.) (Speaking of paradoxically.) “That word is so often misused.” It’s a push-off. A push-away.

“But I’m using it correctly.” Myka sounds not offended, but rather self-satisfied.

Fine. Harden the position. “You are not referring to our consciousness rising from physical to spiritual matters.”

“Well... but how about love for the idea of good? As a path to virtue?”

Myka is well-read. In this moment, that fact is not entirely pleasing. “I suppose we were both attempting to be courtly,” Helena concedes.

“I mean I’ll grant you that nobody ended up transcending the body,” Myka says. Helena is about to agree, to snap away from churlishness, to express regret and apologies, when Myka exclaims, “Hey! I just had the best idea for a joke. So you’re not a hologram anymore, right? So you know what you were trying to be? Last night, in bed?”

Jokes. They confound Helena nearly as completely as metaphors do Steve. “I have no idea.”

“A Platonic solid,” Myka declares, triumphant.

Helena is mortified to find that in this case, she “gets it.” “Myka,” she sighs.

“Too soon? But come on, it’s not bad!”

“Alas, it is.” This quality, Helena can recognize.

“Right, but the good kind.”

Helena is not made of stone. Or bronze. How much easier everything had been then, sans choice and sans reason... and most importantly, sans the near-irresistibility of this one human. “I did always enjoy the word ‘icosahedron,’” she tenders.

“See,” Myka says, now in indulgence rather than triumph. “Pretty sure you have more than twenty faces though.”

“You do as well. Some revealed only under the influence of opioids.”

“Here’s one I don’t think I’d have the guts to use otherwise: my explain-it-to-you-using-words face.”

“Explain what to me?” Helena asks. It’s a surrender. She should better have said she did not wish that face revealed, but that would never have stopped a determined Myka.

“Why I flung myself to the floor.”

“I thought that had been explained? You were attempting to escape a circumstance.”

“First, the flinging was more involuntary than an attempt. And second: your hand.”

“Perhaps you don’t remember”—a strange thing to say to Myka—“but we had this conversation previously.” Helena does not want to have it again.

“Not this conversation. In that one, you drew the wrong conclusion. Or relied on an invalid assumption. Actually both of those. Anyway, your hand.”

“Please stop saying that,” Helena requests. Begs.

“Fine, I’ll finish the sentence: Woke up every nerve in my body,” Myka says, causing Helena to cringe and wish she could this very instant construct a truly useful time machine so she could fly backward, overleaping this latest passage so as to muzzle Myka before she could say that, because she believes it but knows it leads nowhere functional. To her continued mortification, Myka carries on, “Woke them all right up.” This, she says rhapsodic. Helena feels that tone in her gut, a hot twist of something she deserves as pain, but that manifests, shamefully, as pleasure. “Then your hand moved, and it shorted out the system—my system—and I fell out of bed, and the rest is history.”

“On the contrary, the rest is quite present.” Helena tries pushing all of it away, striving for detachment. For function.

“So, your hand,” Myka says again.

Helena raises the offender. “Also present.” Detachment. Humor, even; pushing, pushing, pushing. Trying to maintain.

“No, I mean why,” Myka pushes in turn.

Helena bats back, in faux innocence, “Why is it present?”

“Why was it present. On me.” Low now, her voice, just as compelling as, and even more commanding than, when she uses it to utter Helena’s name.

“I have no excuse,” Helena says.

“I don’t need an excuse. I need a reason. Do you have one?”

“It isn’t exculpatory.”

“As long as it’s explanatory.”

No escape now. No excuse, and no escape. “Here is my reason: I wanted to touch you. So against all better judgment, I did. Intending only that, nothing more.” Myka’s response to these words is an exhale. Loud. Unlike the hospital sob, however, this is slow and controlled. Helena allows a decorous pause, but no words ensue, so she goes on. Myka deserves an explanation that is complete. “But then I found myself unable to... un-touch you. Competently. And the rest will at some point be history, upon which I will never cease to look back and berate myself.”

Waiting for whatever may come next, Helena feels exhaustion inch through her, infiltrating her eyes, limbs, brain, sapping every vestige of energy... her surrender to the creeping leach is imminent when Myka says, “I like that reason.”

All right then. Awake and aware. “You do?”

“You really can be impossible to talk to. Listen to me: if I did that—touched you—I would find myself the same. Unable to un-touch. Do you understand?”

What would be the cost of abandoning her resistance? “I don’t know...” she begins, then reverses course and begins again. Truth, never mind the cost. “Yes. I do understand. But I don’t know what to do about that.”

Myka turns her head full toward Helena, twisting her long neck. Helena turns her own head, but that isn’t enough, so she shifts onto her side—her left side, punitively aware that it will be weeks before Myka can turn in such a way.

They look at each other, Helena both knowing and fearing how her guilt must freight her gaze. Regarding Myka so close, looking now into eyes that are open, is a boon she does not deserve.

After a time, Myka says, “I know what I want to do.”

Her intent is abundantly clear. The entirely of Helena’s being balks, stranding her again in Boone: if she makes a move for the momentary better, it will most likely end worse. She cannot find the... courage? or is it foolish disregard for consequences?... to reach for that moment of joy. Neither, however, can she find the discipline to dismiss its possibility.

“But I also know I shouldn’t,” Myka says, breaking with clarity into Helena’s indecision.

Well. Helena can certainly see the wisdom of that, so perhaps at last they are approaching a real accord that will render all hopes and wishes moot, so that neither courage nor discipline features in the—

“I can tell the meds are messing with my head,” Myka says, “and if there’s one thing I want to remember in picture-perfect detail, it’s this.” She moves her right index finger near to Helena’s lips, then withdraws it.

Unable to un-touch. That withdrawal reaffirms that Myka believes what she says. “This,” Helena echoes, mesmerized.

“So I’m going to wait till tomorrow to—listen to me saying it out loud—kiss you. For the first time. I want to be all there when it happens.”

There is a practicality to Myka’s thinking, and to Myka, that Helena worships. She tries to match it with a bit of her own: “If it happens.”

Myka’s jaw drops. “Come on! I said it out loud! It’s real now!”

“It’s been real for some time, hasn’t it? But I’m being realistic about the circumstance. You might not remember that you wanted to.”

“Seriously? I’ve remembered it since we met.”

Helena has remembered it just as long. She has. Denying it is pointless. But she has a larger concern, and though this is the wrong time to address it, perhaps medicated Myka will afford an unfiltered read...

“Or you might think better of it.”

“Of kissing you? I don’t think so.”

“Of what could ensue. The possibility of a... relationship. Between us. What if it doesn’t work?”

“Relationship.” After she says the word, Myka’s lips part and close, as if the very word is savory. “What if it does?”

It is savory. However. “I’m asking as a practical matter, not philosophically. I’m constrained: I can’t leave again. That’s why I came back.” The thin strand to which she is clinging... refraining from attempting to rekindle an intimacy hasn’t been only to keep Myka safe. It has also been to keep the Warehouse safe for Helena herself to inhabit.

“Then don’t leave again.”

“But what if that means you do?” This is not philosophy either. This, too, is history.

“If I do, then I do, but I’d like to think I won’t. We’ve both had our walkaway crises, and they didn’t take. So if it doesn’t work, we put it behind us like adults. If Pete and I could, then so can you and I. But I’d rather not have to. So let’s be careful.” She pauses. “Breathe however you need to.”

The words are an embrace. A physical clasp might be more galvanizing, but right now, Myka is managing just fine with words. “If this works, it will be because you say things like that.”

“Good news, because I mean things like that. And I intend to keep saying them. Hey, speaking of saying, do me a favor and write down what I said just now, about the adults and the careful, because I want to remember it.”

Sluggishly, Helena ideates rising, going to the room’s desk, finding logo-bearing paper and pen, writing...

****

Helena and Oscar are in a salon. They are engaged in a dispute regarding choices and consequences. Helena is standing at a lectern, and Oscar is reclining on a lavishly upholstered chaise longue, kicking his right leg such that its calf bounces in a languid little rhythm against the low cushioned edge.

Kick. Kick. Kick.

“The choices that create a circumstance will not, repeated, resolve it satisfactorily,” Helena says. Is she reading from a monograph? “As we see in the case of your own Ballad of Reading Gaol, do we not? And yet injury need not lead inevitably to future debility, so clearly some choice in the matter is—”

“Helena,” Oscar says, interrupting her monologue. “Helena,” he repeats. He sounds nothing like himself, but rather someone else, and Helena is straining to connect the voice to the correct person.

Kick. Kick. Kick.

“Time to wake up,” Oscar-as-someone-else admonishes. Encourages?

“I know,” she tells him, hugely frustrated, fighting. “I’m trying.”

His impassive mien is no help. It never was.

Kick. Kick. Kick.

Trust Oscar to cast some part of himself as the pendulum of a particularly annoying clock—

“Seriously, wake up,” Helena hears, and consciousness jolts at her: Myka’s voice.

Oscar dissolves. Into laughter or tears, no doubt, as he was wont to do...

Helena’s eyes open, meeting Myka’s, and she is brought back to it all: the hotel, the bed; the shoulder, the hospital... then hotel again, bed again... and finally words, as if for the first time.

Myka is lying on her right side, facing Helena. Her eyes are bright, her gaze intense.

“Are you in pain?” Helena asks.

Myka leans forward, as if that were a signal. The signal: for Helena is the astonished, grateful, transported recipient of a kiss, a first kiss—the first kiss—one that is swift but soft, gentle, genuine. Like morning... “Better now,” Myka says when she pulls back. “I’m going to brush my teeth. Stay there.”

Better now. Not lost on Helena are all the ways that signifies, including: better that this happened now than at some point in the desperate past. Then, such a kiss would have been a tragic wish for all they would never have. Now, instead, it can stand as a reward for having survived all of that, as well as, universe willing, a mark of embarkation.

By the time Myka returns, Helena has sat up, stationing herself on the edge of the bed. She has also realized that she must apologize—for they should not embark on this new voyage with yet another of her many faults unaddressed. “You charged me with writing down part of our conversation. I didn’t. I fell asleep instead.”

Myka hesitates before joining her on the bed’s edge, clearly considering which arm should be next to Helena. She chooses the functional right. “It’s okay. Even if I don’t remember exactly what we said, I remembered what we needed to do.”

“Needed to,” Helena reprises. She could supply words of her own, but why? Myka is saying the ones that matter...

“Needed to,” Myka affirms. “So where were we?” She raises her useful hand to Helena’s cheek, cradling. Helena leans into it, saying nothing, because silence now says everything.

This is a longer kiss, more wandering, more suggestive of possibility, more likely to lead to such possibility... Helena is the one to this time pull away. “A place quite new,” she says.

“And yet I’m pretty sure we’ve been headed here all along.”

“It wasn’t inevitable,” Helena says. She is thinking now of dream-Oscar, who is slipping from her mind, dropping, like a poorly initiated painting, but he must have obstreperously been maintaining something about inevitability. He always did.

“No,” Myka agrees. “And it still isn’t. So let’s be careful.”

“You remember that part? Despite my stenographic failure?”

“Even if I didn’t—but I do—I’d know it’s important.”

Helena turns and touches her right hand to Myka’s right hip. She would certainly not be able to do this now if she had not done so in the night... the night’s ontogeny recapitulating the phylogeny of their shared history. Myka covers Helena’s hand with hers, and there is healing in the simple fact of their sitting. But eventually that is not enough, and another kiss ensues, longer still, and lips outweigh quiet hands—or no, lips add to quiet hands, but hands are not content to remain so calm, and so this continues and might continue—

Myka makes a noise that is clearly not of pleasure; she moves entirely away, her right hand pressing protectively at her left shoulder. “We’re going to need to be careful about this stupid shoulder too. I’m so, so sorry.”

“You’re sorry? I’m the one who can’t keep my hands to myself.” Ontogeny, phylogeny.

“It’s not like I’m some paragon of self-control... and I am sorry, because I’d like to be able to participate fully. But also I’d like to not have to hurry on account of catching a plane. In good news, eventually my shoulder will heal. I know we can’t stay here till then, but...”

“It would help,” Helena supplies.

“If only because we have to come up with how this supposedly happened. I still think maybe I should take your picture. Or you could take mine? Because by the way, here’s a funny thing: I was trying to write a novel.”

“You were?” More that is new... “Speaking of icosahedra,” Helena notes.

“I want to tell you about it.”

“You do?” Trying to convey her incredulity. That Myka would allow her such... access.

“I want to tell you everything. But in the meantime we have to tell Artie something... I guess we’ve got both flights plus the layover in Denver to get our story straight.”

Stories. Narrative. Novels? “But we’ll tell Steve the truth. Won’t we?”

“Of course we will. And Claudia, right?”

“Also necessary. Although most likely mockery-inducing.”

Myka smiles. It’s a sunrise. “Stress testing. If we can take it from her, we’ll be fine. Then again we might need the time on the planes to rest up for that.”

“Weren’t you able to sleep, this past while?”

Myka shakes her head, and just as Helena opens her mouth to express regret and apologize again for her own sleep, Myka silences her with a kiss, one that lingers, lingers, lingers... still half against Helena’s lips, she says, “The un-touching part really is difficult. But don’t worry about my not sleeping: for the first time in a long time, I was happy to be awake.”

END

#bering and wells #warehouse 13 #fanfic #Asleep #part 2 #B&W holiday gift exchange #kla1991 #also anniversary!#which this year arrived a bit unexpectedly #so I decided to do this mashing up of occasions #because I apparently cannot work fast or well anymore #but as for this story #something something sleep and wakefulness #and when one finds oneself in those states #and whether one recognizes the state one is in when in it #or when finally out of it #and of course there are also the transitions

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