[How can the same man cause such divisive reactions within Wes? He wants to take Grady by the shoulders and shake him, but even as he thinks it he feels the squeezing of his heart in his chest. That adolescent flip like being upside-down on a roller coaster, both delighted and terrified.]
They're scavengers. You better give him decaf. Does he actually laugh?
Maybe after you practice on the hyena, Kurt will give you the stage at Pixie's for a stand-up routine.
[Does he expect this suggestion will be well-received? No. But Wes is not-so-subtly trying to feel out where Grady's thoughts have landed now that they're finally back somewhere resembling a home.]
[ Don't mind Grady, he's just going to stop walking and stare at that message for a little while. Wes might see the "typing" notification turn up and disappear a few times as he writes various responses, deletes them, and starts over. ]
[ The response comes quickly, which is perhaps surprising given the subject of the conversation, as if Grady wants to get it out before he has time to regret it. ]
That was never about you. It was never your fault.
I think it sounds nice to say it's not my fault, but if I'm the one you're trying to get away from it hurts just the same.
You never had to live without me, you know. It was always your choice. It's your choice now, that you keep your distance. I didn't get that. The universe didn't ask me what I wanted.
[Several seconds pass, but Grady's first response doesn't come via text. Instead, the hyena at his side disappears in a sudden pop of blue haze. Solid and real as it was only moments before, it's utterly vanished.]
You don't blame me for the fact you always left? Just your death? Understood.
Grady gives up on the message with a frustrated growl, stuffing the Fluid into his pocket instead. The coffee and partly hyena-chewed doughnuts get similar treatment into a nearby bin; he's long since lost his appetite and he's not sure Wes is going to be in the mood to accept anything from his hands except, perhaps, an apology, and even then it's not a safe bet. What he had intended as an attempt to repair the cracks put between them by Rapture had ended up spiralling, causing more harm than good -- just like, he reflects bitterly, nearly every time he has ever tried to do anything worthwhile when it comes to his partner.
He battles himself most of the way across town, convulsive fists trying to map out something to say, wanting to be belligerent, wanting to fight his corner like he always does, soaking up the blows so he can poke at the bruises later and prove something to himself, that he tried, that it wasn't good enough. But something else inside him, something that emerged from the darkness of Rapture wrapped in crimson thread, is tired of that pain. It's a surprise to Grady how strong that second voice is. And how much he wants it to win.
Arriving at the barbershop, he's confronted by the familiar shape of a hyena stretched across the doorway. The creature lifts its head and looks at him, but doesn't move. The point is clear enough.
Grady, at least, doesn't need to enter to make his presence known. He edges around the sharp edges of the statue, trying to catch his partner's eye as he signs, making his gestures deliberately wide and unmistakable.
I'm not done. Come outside and talk to me. I'm not going anywhere until you talk to me.
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3/3
We got doughnuts. He ate one of yours, sorry. Does he like coffee do you think?
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They're scavengers. You better give him decaf.
Does he actually laugh?
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[Does he expect this suggestion will be well-received? No. But Wes is not-so-subtly trying to feel out where Grady's thoughts have landed now that they're finally back somewhere resembling a home.]
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I guess he needs a name.
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You haven't named it yet? What about Hanzee
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[He probably should've saved that detail.]
Be the first time someone named Hanzee ever laughed.
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Is that why he's following me
What the fuck
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Second of all. What the fuck, you don't trust me? That's why he's following me, right?
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What's that supposed to meanIs that just the strings orDo you[ Fuck it. ]
They do that to you too?
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You gotta talk to me, man.
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We're both here. What else really matters?
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That was never about you. It was never your fault.
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What the fuck
Do you think I don't regret that?
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You never had to live without me, you know. It was always your choice. It's your choice now, that you keep your distance. I didn't get that. The universe didn't ask me what I wanted.
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You think I asked Malvo to kill me??
You think that's what I wanted
I wanted to go HOME
we could have been done with that job but YOU didn't want to
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You don't blame me for the fact you always left? Just your death? Understood.
I have work to do.
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That's not what IGrady gives up on the message with a frustrated growl, stuffing the Fluid into his pocket instead. The coffee and partly hyena-chewed doughnuts get similar treatment into a nearby bin; he's long since lost his appetite and he's not sure Wes is going to be in the mood to accept anything from his hands except, perhaps, an apology, and even then it's not a safe bet. What he had intended as an attempt to repair the cracks put between them by Rapture had ended up spiralling, causing more harm than good -- just like, he reflects bitterly, nearly every time he has ever tried to do anything worthwhile when it comes to his partner.
He battles himself most of the way across town, convulsive fists trying to map out something to say, wanting to be belligerent, wanting to fight his corner like he always does, soaking up the blows so he can poke at the bruises later and prove something to himself, that he tried, that it wasn't good enough. But something else inside him, something that emerged from the darkness of Rapture wrapped in crimson thread, is tired of that pain. It's a surprise to Grady how strong that second voice is. And how much he wants it to win.
Arriving at the barbershop, he's confronted by the familiar shape of a hyena stretched across the doorway. The creature lifts its head and looks at him, but doesn't move. The point is clear enough.
Grady, at least, doesn't need to enter to make his presence known. He edges around the sharp edges of the statue, trying to catch his partner's eye as he signs, making his gestures deliberately wide and unmistakable.
I'm not done. Come outside and talk to me. I'm not going anywhere until you talk to me.
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