OwO

They are standing in dappled shadows on the forest ground, waiting for Liam, who ran ahead to make a call out of Theo's earshot. Theo is sitting by a tree with his knees up and loosely spread, with his hands in between them. His hands, chained: it's simplest hazard control. Effective, though. Hayden feels spiteful as she's walking left to right, throwing a palm-sized rock from hand to hand. Theo looks bored, irked.

''Where are you going to, little Red Riding Hood?'' Theo addresses her, smooth to self-entertain, making her stop mid-throw, causing the rock to hit her palm and fall on the ground. She picks it up and mimes throwing it at him. Success unfound, in how he doesn't flinch. Success unfound, in how he's making this into a story about a little girl and a sneaky wolf.

She considers him. If answering at all would cater to his amusement, or lesser his situational unpleasantries, which she's trying to avoid. But Theo is in the midway of doing nothing and determined to draw attention to himself, the way he has been.

''We're out of flowers, I'm afraid. Would you like some redwood wood, instead?'' Theo offers in a made-pleasant public service voice. Hayden notices that he's siding with the forest, here, scuttling into its floors where he has found purchase through extended stay.

''You know all the tree species?'' Hayden asks. Takes a bite and wills it into a treat for herself, rather than bait. Theo probably meant the tall and non-wiggly tree he's sitting against; Hayden wonders if he ever studied forestry, or if this is werewolfery knowledge.

''I know better things, too. If you come closer, I'll whisper them to you.'' He grins. Lifts his chained wrists as he adds, ''No pressure, though.''

Hayden considers him. Again and again. This is, she guesses, learnt prudency; a refined taste for justice, maybe. Guesses resurrection does that to you.

''Warning, beware of dog,'' she says.

Theo looks at her, eyes hooding and mouth neutralising. He shrugs, looks sideways. Attention, lost. Trade, declined. Secretful threat traded for blankness, if anything. Hayden, it seems, does not entertain in Theo-ways.

—

Theo Raeken, it turns out, has a finitude to his spread of catastrophe. Sheriff Stilinski watches cross-armed as running-mouth-boy exposes the culprits of murder; aggravates them like it's his best expertise until they say things they tried not to say and so saves his own slate from police-worthy additions.

Stilinski watches as Theo, for some inexplicable reason, lingers in the police department. Theo is sitting on one of the reception benches, eating a bag of mixed nuts from the vending machine. One would think it's ill-advised, that as soon as Parrish released him, Theo asked Parrish to buy him some goods from the vending machine, said he was detained unfairly. Deprived of food for this short but uneasy time. Didn't have his belongings on him. But it mustn't be nonsensical; it must be some behavioural tactic of making himself appear unconcerned. As having clear consciousness, innocence, all of those.

Stilinski resumes watching through the screen as Theo's chewing slows down when an officer with a police dog walks to the machine. He watches Theo's frowned, suffering, doubtful expression, staring into the dog's eyes like he can't take the dog seriously. The officer stops fishing change out of his wallet with a metal scoop in his cupped hand to shoot Theo a questioning look.

''Everything alright, son?'' the officer jingles the change in his hand, looking Theo over.

Theo's gaze doesn't even change when he looks up. Doesn't turn into a stranglehold of a gaze, either. ''Does your dog bite?''

The officer considers Theo, the sagged, unruffled spectre of him.

''No need to worry,'' he assures. Starts inserting the coins. He then turns to Theo in an afterthought. ''Is someone picking you up? You need anything?''

''Oh,'' Theo breathes, ''for real? Would you? Just something to eat? I've been stuck here waiting.''

Stilinski watches as Theo picks up a protein bar from the machine drawer. Flavoured water, a second later. Probably, apathy comes easily to him. He must not think in any understandable way; rather, he must think unfeelingly. Kid's got— not a care in the world.

—

Liam is holding a bouquet and inspecting its flowery contents. Frowning at the petals he's scraping at, glowering at the buds he's poking.

In the aftermath of the ceremony ran on the anniversary of Liam's school in the decorated sports hall, his mother is standing by the chairs in unison with another boy watching her son.

She knows him from a photo Liam showed her, a boy new in the school, softly named: Theo. It was evident that Liam took the photo discreetly, which she commented on and which Liam denied. She notes the distance at which Theo keeping and approaches him.

''Don't worry, he's not keeping secrets from his friends,'' she says. ''He doesn't have a girlfriend, at least not that I know of. I was the one who gave him the flowers.''

''Oh?'' Theo says. ''I see.''

He puts his hands in his pockets. He's probably shy. This happens sometimes, with high-school boys, they can become clumsy with themselves. She feels motherly talking to them in moments like this; motherly and pleasant in her efforts to engage adolescents when they are dithering.

''I think he's reconciling masculinity with flowers,'' she comments.

He smiles. Smirks, more like it. They must be close.

''Good colour choice,'' he comments on the orange of the flowers.

She nudges his arm. ''Go talk to him when they're done taking photos.''

Theo shakes his head, shrugs once. ''Nah. I will be leaving soon, anyway,'' he says, and she drops her hand from his arm. He's probably a little shy.

—

Mediterranean sunrise comes with a surprise: a man awakening on the ground a few steps from the barely-formed footpath. A man, or maybe younger, his Mediterranean awakening accompanied by the smell of fig trees, and all. Kind red soil.

He's naked. He's slowly wiping a hand across his lips. You know, suddenly, that this is a complication. The circumstance makes his body looks like an involuntarily stripped body. Perspective changes: red soil is now needled soil. Acrid tones sour the sunrise.

''Hey,'' you call, stepping closer in your sandals and a coral-printed towel around your neck, feeling unsuitable for the demands of the situation. ''Hey. Are you okay? Should I call the police?''

He's pushing himself up. Not looking at you. Not mindful of the resin at his back. This is indicative, you think, of something, because you're mindful of the way road dust is making your hair dry and webby, while his attention is this narrow, or overall absent.

He looks up, then, at you. ''What?''

A surprise gifted by a foreign agency; not Italian, then. You switch to English and try to make it not clumsy.

''I'll call the police for you,'' you assure him. Scramble to find your phone in your tote bag.

''D'n't call th'police,'' he says. He isn't trying to cover where his body is exposed.

''I don't want to assume anything,'' you say, feeling odd and performative. ''But— Look. I can just call the emergency number and they can direct you to a centre for sexual assault.''

Body, bodily manuscripted into the soft soil. He looks like he's processing slowly. Gets distracted inspecting his hands. Is that blood, you wonder, realise, really, it all just getting worse and fraughter. In between his fingers.

''Don't call th'police,'' he says. ''Was jus' drunk.''

''Is that blood? On your fingers.''

''I jus'. D'n't call. Did s'me things I shouldn't have.'' He reads your face, then says, ''Not like that. T'myself.''

Heat is lowering to the grounds of the morning and your sandals are light on your feet, escape-hairs pleasant, pine trees your favourite. And the hostility-seen boy is trying to act alright.

''It's okay,'' you say, wondering if it is; something complicated about the okayness of not-okay. You squat down, to balance the eye heights. ''I can call the hotline for—''

''No, n't—. Just stupid, no police. Please.''

''Do you want some water,'' you say, taking it out of your bag, and he takes it. Uncaps and smells it, blinking with his nose above the bottle opening, before he shakes his head a little, and starts drinking. Your phone is still in your hand, but you're unsure. You give him your second non-swimly shorts and wait until he overcomes his hesitance and gingerly takes them.

''You don't have to tell me,'' you insist. ''But I'm sure that there's someone who—''

''Thanks. It's okay, you can go now.'' He starts moving to get the shorts on, then swiftly straightens his back, inhaling deeply and looking up. Must be avoiding some hidden ache.

You hesitate, phone in your hand, legs starting to feel stiff from the position.

''I could drive you someplace. My car is ten min—''

''Thanks, but I'm okay now. You can't help,'' he interrupts. There are cases like this one, right, people using caustic means for secret-maintaining ends.

''Are you sure?'' you press. ''I could go away while you're talking to—''

''You're not helping,'' he says, monotone now, now operative and controlled to be alkaline. He's looking at your eyes fixedly, and you stop hesitating. ''You should go.''

Ground gives. You shake your head and start walking away, leaving him with your shorts and thinking then good fucking luck, honey.

You turn back one more time. He's looking at you leaving with unfocused glossy eyes, and you wonder, surely not for the last time, how deeply and stickily swamp-lodged he must be.

—

A hot guy is walking in the chest-high sea and doing little dives. Grazing the water surface with his fingertips in between and wiping salt from his eyes, before diving again and re-salting his eyes, like some deliberately mindless-seeming cyclical mechanism. Salt for maintenance, salt a nuisance.

Now he bends his knees and only submerges up to his chin, and you imagine he's sensing freshness at his nape.

''You just have to relax,'' you say loudly from where you come to stand in the water to your ankles, ''and you can probably hold your breath for longer than that.''

He stands up and turns until he spots you. You walk closer until the water is at your waist and he's looking at you like someone unexpectedly interrupted. Unexpectedly perceived, unfortunately. A popular kid being addressed by an unpopular one.

''You wanna teach me how to swim?'' he asks and smirks a little, and you shrug.

''If you feel like you can't stay underwater for more than five seconds, it's probably because you're panicking. You can hold your breath comfortably for at least fifteen seconds, I dare say.''

He looks at the glistening in the water, looking weary.

''Can I,'' he says, more of a response made to be unrevealing than a question.

''One thing I'll say,'' you say, untying your hair to avoid breaking it when it will be wet and to be casual, maybe; mitigate the upfrontness and possible insinuation, ''is that your body looks mad functional. Don't take this in any funky way.''

''I won't,'' he says.

—

Theo is in no space. Some telephone line space.

Should I be taking this personally, Liam texts him. He knows that Theo has been straightforwardly ignoring his messages. He hopes, actually; hopes Theo hasn't run into any of his long-known non-friends who see his face as a face, fanged, and not eyes, often confused, tongue, often tied, responses, often belated. Hopes that Theo isn't not answering because of some surviving anachronism from his past, but rather because of something new. That would be more manageable.

He also hopes that Theo isn't not answering because he is succumbing to his self-damaging instincts, even though that would mean simmering resentment towards Liam; even though that would likely be the best possible option in the precarious array of options in Theo's life.

Liam texts, did you know that if space was infinitely big and infinitely old, it would be white? I don't really get why, do you?

—

You have a boy couched in your living room. His name is Theo. Picked him up on a staff-only fire escape. It would be a leisurely sight, now, a tracksuit-hoodie-boy sitting right next to a drying rack, which he said he didn't mind. If it wasn't for your rapid heart. Heart: heated, speaking in unit-free measures. Heat: a smooth, unfibrous thing.

''May I,'' he murmurs, and you lean in.

It's a classic student situation: a breathless undertaking to the backtune of wine in tea mugs. He selected a Sierra Nevada mug with a setting sun. Came with the flat.

''Add me on Facebook,'' you say. The two of you haven't even done much, but you feel so hooked, by the fire-escape boy who moves in a way so self-assured and touches indoor objects warily. ''Or Instagram. Wherever you want.''

''I don't use social media,'' he says. He uses his hold on your hand and your finger to push his hair out of his eye. You like the way it parts and hits his temples.

''Phone number?'' You suggest, more joking than not. Exchanging phone numbers feel more joke-like than not.

''No phone number,'' he says. Must see your expression, shrugs and says, ''Guess I'm too old for technology.'' He smirks at the dry look you shoot at him, knowing your age of twenty-three to his twenty-two. He's saying too old and you don't buy it. He carries no weariness in his jaguar body. He takes his lower lip in his mouth. ''What if,'' he then says, ''I'm a vampire.'' He touches the tip of his tongue to his upper teeth.

''My favourite paranormal activity,'' you say.

''Too bad,'' he says, grinning. You look at his ajar lips and think: too bad.

''Your canines are sharp, though,'' you say. ''At least.''

He grins wide. Pointedly and slowly leans towards your neck with an open mouth, until teeth make contact. You feel your smile dropping when his phone beeps. He hesitates for a beat and then leans his forehead on your chin, just breathing there, and you know you are both thinking about him saying no phone number.

''But none for me,'' you say. Because of all the places your bodies have been touching, a beat of silence means: five heartbeats of him staring at his phone, engulfed in the jacket he discarded on the floor by the couch, and you staring at him. And then he leans over, easily shifting your weight, until he can kick the jacket, some, not really achieving anything.

''Another vampire,'' he says, then, on the side of unapologetic. Luckily, you are known to be unresentful. Good at not taking things personally. ''From another brood.'' He places his hands back on your hips.

''Hm,'' you say.  It's fine. The monomania of the green-eye boy is temporary. He's hot, but your desire never lasts, anyway.

—

There's a guy on your bus ride, on the opposite side of the passage, one seat forward. Your age. You noticed the generic niceness of his face.

He's drawing a sinusoidal curve on the fogged window. Moves his hand further right, where the window is still fogged. Starts drawing vertical lines, carefully, some methodology to it, the lines parallel to each other. He pauses after he draws four. Huffs, twists his smile into one that is hiding and downturned. He crosses the four lines with one that is horizontal, then adds another vertical line to the side.

You feel yourself smile. He drops his hand, shakes his head a little. Looks through the window at the frost-covered barren brown fields, away from his prisoner day-count. It's funny. He's funny. You look away.

—

It's a short, crude thing. Like this:

A fictitious boy stumbles out of a bare-walled building. Languid, unrestful body. Unleisurely, water-logged body. A tired backstreet play-doh thing. Young.

''Hey,'' you call. ''You. You good?''

The night is warm, humid. A post-rain road construction night. A night for cicadas, if you drive further out.

He inhales in the way of catching breath. Squints at his watch, eyes go glassy. Looks at the moon overhead, then squints at you. And you— you feel awake now.

You look him over, the sugarburn boy with a backwards baseball cap. The trouble of a tooth cavity, which means: okay, if you have some money. Some reckless uncare, too. He's watching you. You inhale slowly, but it turns out all tell-tale anyway. He must see the appeal you feel, in how he licks his lips and tilts his head.

''Interested?'' he asks.

You hesitate. Feel for your jacket pocket with your wallet in it. Lift it without taking it out, clear enough.

He nods. Clears his throat.

''Can you play nice?'' he asks. Teasing, but also not.

You can.

He nods. Looks at his watch. You follow him.

—

You pick up your pretend-sugar fake-care service by a closed ice-cream stand, its inviting light sign shining red on his face. It's raining lightly when you pull up and he doesn't have his hood up like he knows the wet hair strands sticking to his forehead make him look good. In the car, he has no song requests when you ask.

''How can I service you?'' he asks.

—

''What should I call you,'' you ask.

''No need to call me,'' he says.

''What if I want to,'' you admit. Not subtle and elusive. If I may be so bold as to in the back of your mouth.

He pauses, thinks. His gaze is saccading empty spot to empty spot and you know the only type of name you'll get is a fake. You'll take it, as a consolation purchase.

''Theo,'' he says.

—

Alec answers the knock with a toothbrush in his hand.

''Theo. Jesus,'' he breathes.

''Hello,'' Theo responds, overly carefully-crafted for the simplicity of a greeting, but Theo has never carried himself as though he was simple. ''I brought you those,'' he hands Alec paper sheets folded in half. ''I got my hands on some werewolves. Could you give those to Scott?''

It's more automatic than not, when Alec takes and unfolds them. They are black-and-white prints of photographs of ID's.

''You did?'' Alec says, still dumbfounded, still in the act of being interrupted. Habit-mindedness sliced in half. ''How?''

Theo shrugs. His face furrows for a beat, then he fiddles with the door handle, pushing it down twice.

Alec looks at the goods in his hands: a toothbrush, werewolfy profiles. ''Do you want me to tell him that they're from you?''

Theo looks conflicted. That's fair; it's a conflicting state of circumstances, or what is it that Liam told Alec. Maybe Theo turned to Alec because of the implied similarity: both well-accustomed to doing what it takes. Maybe Theo is finding some comfort in that; like Alec would recognise that Theo is a runaway object, or a throwaway one, only having made himself a weapon because he had been made into one first. Like Alec would recognise that Theo is trying to pay his dues. Or maybe Alec is misjudging and Theo isn't seeking comfort at all, which is what Malia thinks. Guess Alec is a little soft for softer scenarios.

''Jesus,'' Alec says again. ''You were gone so long. You didn't say anything. Have you—'' He hesitates, frowns a little. ''Does—Ah, well, you know. Does Liam know?'' He was going for tentative with this one before he swerved. Tending to the habits of skittish wolves.

Theo is looking past Alec's shoulder, distanced and glassy. Alec thinks of dolls, their eyes amiss in that they are unseeing and custom-built. It's a thought too cruel, unless it's sympathetic.

Theo shakes his head, slowly, and exhales, touches his temples with his index fingers, then drops them lower and presses them over his jaw muscles.

''TMJ pain?'' Alec asks.

Theo drops his hands. ''What?''

''Oh. The jaw joint,'' Alec points to his own.

Theo shrugs. ''It's just tender. This muscle,'' he taps.

''Have you been stressed? TMJ problems are common for young people. Can happen because of stress. Stress can cause teeth grinding.'' A clumsy explanation, but Alec can't re-order its parts now, just hopes Theo takes it. Hopes Theo makes his skin onion peel and shows something less dry underneath. And Theo:

Theo looks at him expressionlessly, for a beat, and then exaggeratedly sad-faces. Pouts, closes his eyes, nods slowly. ''I've been stressed,'' he says.

Fuck you, you think. This happened just fifteen minutes after waking up. If this were to happen later, maybe you would be less out of it and more situation-wise, more windbreaking skin. More teethful. Wetness should be at your side and not pool where it shouldn't. Wetness should drown things when you willed it to.

They carry your limp body into the metal box, as you knew that you would, carried to the truck door and packed away neatly. Your body feels particularly insensitive, even when gloved hands touch it, maybe in the enlightenment of death, or something death-like.

In the box, the only way to look is upwards at the glass cover plate. It doesn't move when you push against it, and none of the other walls do. When the light in the space of the truck is cut off, you stop pushing at the upper plate, because it makes you feel flattened, or something that can be flattened with force, in the way of soft-tissues invertebrates. It makes the air in your chest twist into impossible illusion shapes, looped into themselves.

And then the truck screeches to a stop. When it does, abrupt in the way of accidents, you think of the gods you've been learning to despise in the practise of eighteen years. You would think your spite is more polished by now, better refined, with how raw and disgusting it has felt. But now your ears are ringing with divine working in one's life shall become apparent as an ineffable experience; divine working—

Your ears are ringing with Andrew and eyes burning with the image of the hell-made saviour of him. You hear shouting. The truck sways with the force of something, and you go with it, like unrooted watergrass. If this is Andrew, he must be sating the hunger of his hyper-grin. A new image blazes into you: out of water, in the air of land, bloodied hands remain bloodied. You are used to water washing blood from your skin, the skin remaining stainless, shedding impurity and grime and violence right off. If this is Andrew, he must look like a terror.

But there is a godly part in this. If this is Andrew, he has brought what you have always wanted: difference without novelty and novelty's stomach-digesting discomfort. The truck sways again and you are still holding your breath.

*

It has been over a week since Andrew removed his arm from around your shoulders, and you both fell in the water of a flooded basement, comrade-like, collapsed and breathing fast in the aftermath of things. He dragged himself to the staircase and spread over the length of a step, legs up on the railing, the weight of his cement-bag body sagging. The thump of his head falling back against the wall made you want to urge forward. But you didn't. His clothes were soaked past his waist, black jeans abyss-black. His head lolled to look at you and you felt all too transparent, like he could see right through your skin and muscle, liver and intestines and all your soft organs. You were still spiked-up, body still ready to rush. Too tender when he was looking like this.

It has been over a week of you dragging your body through the ecosystem of the basement. The water is shallow enough to make the basement a crawl-space. You crawl around the pillars, wondering if you can do it in an utterly random pattern. Don't think too hard. You think you're going crazy. From aloneness. All the other beings in the flooded basement are small and timid. Don't think too hard.

Andrew comes every day, every second day, every few days. Irregularly. He brings stacks of food.

''It's not this dark outside,'' you tell him the next time his boots settle with your eye level, ''The windows are tinted. It's darker in here.''

He brings you a flashlight. You don't use it. To what, target yourself? A predator with nothing to prey on. A predator with nowhere to go.

He sticks his feet in the water and reads with your flashlight. He brings you games of multiplication and these little metal wire shapes to disentangle. You get better than him at chess quickly. It surprises him. It doesn't surprise you.  You have been thinking about mathematical perfection and formal proofs your whole life. You have spent your whole life over-chewing your people's stories; it makes you a good social learner; a learner from mistakes, yours, others'.

''I am going to promote my pawn,'' you observe. He brings his hands up, all fingers meeting in a point aligned with the centre of his chest and then he pulls his hands apart and spreads his fingers into something open and empty-handed.

''I don't care,'' he says, then huffs and laughs meanly until he swallows it down, and then bolts upstairs. You can hear him rage there, the thumping of what you imagine is hands hitting the frame of a doorway as he enters a room, pushing empty drawers shut, throwing himself on a bed. You don't understand his theatrics, or his rage.

Most of the time he is gone, though. It would be okay, that nothing ever happens, if nothing happened inside of you, too. You just feel disused, as a person. Your skin is pale without bruises and your head is empty. Andrew has brought you a waterproof phone, a metal little thing. He's been gone for days, and you've been existing amongst clutter, a being in the ecosystem, an object in stasis. This water tastes different. It leaves a dirty taste in your mouth that you try to get rid of by licking your lips. It doesn't work, but you keep catching yourself doing it anyway.

You call him.

''I feel sick,'' you say.

He brings you aspirins, more food, a radio.

He hasn't been saying much. This isn't what satisfaction looks like, you think as he expressionlessly tears a second packet of salt into his food box. His quiet leaves you feeling alone in un-novel ways, even though most of your aloneness is new. To be fair, you have only found dissatisfaction to be unkind; not intrinsically, not out of necessity, but out of something more spiteful – maybe stubbornness. Anyway. Anyway, maybe you shouldn't think of quiet as unkind. What else can you expect. Being low-maintenance feels kind of right.

*

Somebody is in the house.

When the steps come, they come slow, and with foreign wilfulness. You still. You watch your breath skate over the surface. You know that you wear suspicion the way Andrew wears the relaxed slope of his shoulders, but you're right, you're right.

You are right. After minutes of soft thudding, a corrosion-of-a-boy appears at the top of the basement staircase and deflates in front of your eyes. He peeks downwards quickly, then half-turns, his eyes again jumping around in the way of sweeping: thorough and clearing. The semi-dry sepia shrubs outside the window, the unopening front door of abandon, the end of the hallway you only saw once. He stops. He deflates. He exhales, exposing the wear of him, then covers his eyes with his wrist. He stops like that.

You are watchful. You make yourself unseeable and now that he doesn't see you by how he continues walking downwards. You watch as he crouches his anaemic-looking body on the last step above the water, looking around in a glazed way, with clumsy attention. His eyes are shadowed by the downwards tilt of his head, so you set your gaze to the tight pull of his shoelaces and the triple knots of them. Slow enough to be soundless, you lift some more of your body out of the water.

''Psh,'' you say, and the boy stills. Stops breathing, until he leans his head forward, a little, squinting, and you think about a fish hook.

''Merman?'' he asks, stupid.

He looks a thought away from bolting, a distraction away. Haunted? you wonder. Fast as someone would be if they had something sharp snipping right by their neck. For a moment, you worry that Andrew has installed cameras, but he wouldn't.

''Are you with Andrew?'' you ask, and have him scrambling up – and it rolls a terrible terrible sense over you. A sense of Andrew's hyper-grin. A sense of his red-dripping hands. An unpunctuated question of things Andrew could do.

You don't want him to go. ''Wait, wait. Do you have an aspirin?''

He stops in something surprise-like. Continues looking undecided. He looks like a person who only trusts himself. Who wonders whether he himself is trustworthy.

''Black hair,'' you address him. It seems to stagger him further.

''I don't,'' he says, then clears his throat. ''I have needles. Some alcohol?''

''Alcohol is a very ineffective drug.'' Drugs know you, you know drugs. You say this to skirt the edge of things, because some basicity is growing inside of you. Psychotropics have always meant skirting things, for you. People have always only responded to the wrong ugly aspects of you using them, and they have responded in an ugly way, when they did.

''Is he the one keeping you here?'' the boy asks lowly, with horror. Andrew wouldn't. The boy probably doesn't know Andrew specifically. He is probably just wary. Trustless. He absently wipes a hand under his nose and looks at his hand as it comes away clean.

''No, no. He helps,'' you say, throat wound up in a familiar way.

The boy's gaze doesn't linger on the un-land-suited parts of you. What must you look like? Hiding in a vacated house, now un-vacated, now a whole new ecosystem. You dragging your body around it purposelessly in the manner of dethroned kings. In religious stories, evil is described along the image of decadent, scorching beauty, or ugliness, never ordinary. What are you? Stale, now; touch this – this; ah, pfh, in the hold of gloved hands. Are you ordinary. Can you be unordinary in a good way. Please. Suddenly, you feel the crash of some alien plea, fully, mouthfully in a way extraneous things can't be.

The boy stands up, scanning the basement around you, the misplaced wooden boards and pillars and the handles of some exercise equipment above the water level. The place you scavenge. The place where electronic devices make your eyes hurt. The boy shakes his head.

''Does Andrew—'' he starts, then reconsiders, ''did Andrew—'' stares at you wordlessly, before he glances over his shoulder and grips the strap of his bag with both hands.

''Are you in a hurry?'' you ask.

His eyes are a little wild when he turns back to you, and his nodding is shaky. ''He will be back, right. Andrew.''

The air isn't right. You twist your arms under the hunch of your shoulders. ''Are you really?'' you ask after a moment.

''I don't know how to tell the truth differently,'' he evades the question; you notice things like that. You stare. You stare. He sharpens under your gaze. His grip on the strap tightens. His eyes narrow when yours do, and his face is tightening up with something wild and exposed and almost breathless.

''Look, I'm just asking, okay?'' you roll the words out carefully. ''You don't have to, I won't— It's just me here, okay? But are you— are you—do you know Wes—''

''No. No. I'm. I'm Neil and I don't know anyone here,'' he says, then runs back up the stairs, and you think: fuck.

*

''What have you done,'' you accuse Andrew right as the door at the top of the staircase gapes wider, more late-afternoon orange light seeping in. You don’t know if you should tell him about Neil. Andrew halts and untenses with a controlled exhale before he even fully tenses. He turns his head before he turns his body, the slit-eyed mechanism of it.

You watch him pull down his large brown-knitted sweater from where it has creased at his waist. This is the softest you have seen him. In his mechanical way. He walks down.

''What do you mean,'' he asks blankly. You lift your eyebrows. You don't want to prompt his answer. You want to squeeze out his hiding space until he is forced to expose himself. Something tells you he has not been sufficiently challenged, lately, that he has been glaring his way through people's curiosity until they took their questions back.

''I will stay here now. I needed the foster address to get a job. I don't need it anymore.''

''You work?'' you ask, dumbfounded.

''Warehouse stock control. I'm getting machinery training. Forklift truck. Vroom vroom'' his tone mocks himself. He doesn't answer your question. He lifts his mug above his open mouth and nothing pours out, which he must have known before he lifted it and did it anyway.

''So what did you do,'' you ask. You imagine he squints his eyes, but he doesn't do anything, really, you just see the questioning of it.

''I left and now I'm moving here. What do you think I did? Oh thee who inquires with an accusatory tone.'' He sits down, then stands up enough to pull a pen from the pocket of his black jeans. ''What will you charge me with, officer?''

''Okay,'' you say carefully, raising your hands. ''Were they bad? Wherever you were staying.''

''Sure.'' He gives a not impressed look at your raised hands, then pulls a sudoku from this jacket pocket, and you think: how can this be the thing that bores you the least. He has this unasking about him: he doesn't wonder about your life, or about its past, or about its pastness. How you sometimes wanted to be one of the little beings that scuttle inelegantly, instead of a self, and how you now drag your body around in patterns. You still don't know to where he disappeared for two years, and he doesn't ask about the gelatinous ways in which life unfolded in that time. He doesn't bite into pasts. It's very uninviting.

''So why were they bad?'' you ask, then watch him build things inside of himself. Stories, lies, napkin-houses that fold the dirty sides inwards.

''They don't read social cues,'' he says, finally. You wonder how carefully crafted this answer is. But who are you to judge? You haven't told him about Neil.

''And I read things fine, for you?'' you ask.

Andrew's eyes trace the line of your shoulders. You turn a little, into something more invisible, and Andrew nods a little.

''You wear your body like it's soft,'' he says.

You feel a strike of something pulpy. You look down at your body, water surface wavering around it. The stricken feeling is illusionary; it reminds you: Andrew's curiosity is just selective. Just one of the on-off things he switches, like his energy and benevolence. It's selective in the way of not knowing things that are easy to know, like knowing to list your body organs, and on the other hand saying, you wear your body like it's soft.

''This doesn't work,'' you say. Twitching your head sideways to indicate the space of the basement.

''I know,'' he says after a moment, taut. I'm sorry, he doesn't say.

''I can't even move.''

''I know,'' he says. I'm sorry, he doesn't say.

*

Andrew should be sleeping upstairs when you hear a crash, some crashing, and then quiet. An accident, you imagine immediately, your mind attuned to likely narratives, bad things, extrasensory things.

''Andrew?'' you ask tentatively. It's something bad. It's always something bad. But then the quiet is broken with more crashing, scrambling, the noise of something desperate. The sound has moved down the hallway, where you can hear more clearly. Andrew is saying something through his teeth, softly, melodically, always teethfully. You hear a gasp.

''Neil?'' you say.

''Neil?'' Andrew pronounces carefully. He pushes the weight of something unwilling to the basement door. A hand in Neil's hair is pushing his hand backwards, harshly, and a knife glistens by his throat artery. Andrew isn’t grinning, but you can’t unsee him grinning.

''Why did you come back,'' you say to Neil, who is forced to look at the ceiling, one hand around each of Andrew's arms.

''Come back,'' Andrew repeats blankly, looking between you and Neil.

Neil uses both hands to push at the arm with the knife and suddenly knife is held by them both, away from their bodies and struggling for a swing, both breathing hard with faces sharp. You imagine red-dripping hands. You don't want the knife to swing. You don't want it fiercely.

You open your vocal cords in the right way and a shrill blooms from the resonating spaces in your cheekbones, outwards, hitting Andrew and Neil with the force of soundwalls breaking. It's piercing to your ears, too, and you know it doesn't even compare. You're the predator, then, and they are prey-like. Neil falls down the stairs. Andrew falls to his knees and elbows, hands closed around his ears.

Neil is staggering, touching his ears, spitting water away from his lips, wild. You offer a hand and he stares at it, then moves further back. He bumps into a pillar and startles, before walking around it to take another step back.

Andrew cracks his neck sideways, both sides, glaring at you, then slowly takes two steps down to pick up the knife.

''Neil came back, Aaron? Is there something you aren't telling me? Try not to lie.''

''What,'' Neil asks, then covers and uncovers his ears again, panicked, looking between Andrew and you. His hearing. It probably hurts. It's probably disorientating.

Andrew snaps his fingers three times. Neil doesn't respond. Andrew keeps snapping rhythmically; the more times he does it, the higher up the clog of eeriness in your throat climbs. Neil pushes his hair out of his face, breathing hard at his reflection. He's cupping his ears, shaking his head, shaking the ringing out, until he looks up at Andrew, and Andrew stops snapping and drops his arm.

''What?'' Neil asks again, quick, twitchy. Andrew tilts his head. Neil takes another step back. ''Who are you on the market? Are you resistance? Is this how you know?'' he looks at you.

''The market. Food?'' Andrew says, just as you ask, ''Criminal?'' Neil is talking about the criminal market. He is talking about prized items like you. You know from stories; you just hear big names, as a lesson for avoidance. There is nothing familiar about the way Neil looks. But his hauntedness; it might look like something familiar.

''Liars, liars,'' he Andrew smiles, syllable by syllable. ''You're staying, then,'' he says to Neil. ''You have overshot your runaway runway, huh? We have something to talk about. I see we'll be dining finely tonight. The plentiful company of the three of us.''

Andrew carries himself like a punchline, when he talks. It's annoying.

''He's patronising to everyone. Don't think you're special,'' you tell Neil.

Neil smoothes his hair back and wipes the water off his face. ''Who are you?'' he asks tautly. ''Resistance? Nobodies don't hide Others in abandoned houses.''

''Your turn to share, squid boy,'' Andrew says, both reappearing and coming down. Neil is in Andrew's clothes, dark and monochromatic. Andrew ceremoniously offers a metal fork to Neil, and then hands out a plastic one to you. You pull it out of his hand.

''We are not. You both. You both say these statements. As if you knew. Nobodies don't do this. Nobody knows anything for sure, okay? Tentativity can be enjoyable sometimes.''

''Pescatarian, anyone?'' Andrew asks, pleasantly. ''Come, Neil. You can't stay in wet clothes. We'll talk.''

They disappear upstairs. In the way of denouements, you feel a resolution unfolding. Or hoping for one, anyway. You press the feels of your palms over your eyes. They will probably talk about you, too. And then Neil will appear in Andrew's clothes, dark and monochromatic, and it will make you think of the cosiness of monochromatism, of how homewise it is. It will make you think of when your cousin was glancing at you with a frown and your aunt told her, leave him, he's just brooding, and the cousin still went to him, calling out Aaron Aaron Aaron.

They keep sneaking glances at each other. Neil's dark hair and Andrew's face so much like your own make you think back in time, back to the few days before the metal box and dismal circumstance. I like your hair, you signed to the girl the name of whom you had been trying not to think, drawn to things that are too dark to shine. She was lingering by the mosaic in front of the growth of your rock opening that you had deliberately let become overgrown, something one pushes through with spicy feeling. Thank you, she signed, I like your face. That sounded like a really bad comeback. I do like it, it's very symmetrical.

Neil and Andrew's eyes meet, and you think: you two assholes are too self-absorbed to not do this staring contest.

*

Andrew's phone rings. He turns to bore into Neil's eyes. He moves the phone away from his ear, and says: ''Nathaniel?''

And Neil panics.

In the way of narrative complications, the three of you end up in Andrew's warehouse car.

You are in the backseat, covered with two blankets, feeling yourself frown as you readjust your grip on the four two-litre water bottles you are hugging to your chest.

''This is clearly idiotic,'' you inform them, again, because apparently neither of them senses the threat of a looming climax. The so many things that will go wrong, because nobody has any sustainable plans.

Andrew is loosely gripping the wheel with faux laziness and Neil glances around full-bodily, alert, before returning to zooming in on google maps on a new phone he just had in his bag. He destroyed Andrew’s.

''This doesn't work,'' Andrew repeats your words so wholly blankly that it is no-doubt mockery.

''Not nearly the stupidest thing I've done,'' Neil mutters. Andrew flicks his eyes at Neil. You squint as you flick your eyes between them. Andrew is tapping his fingers on the wheel. Neil is hunching low in his seat, scowling at the screen. Andrew reaches over to Neil's side to pull sunglasses from the glove compartment, and Neil leans away to make space without looking from the screen.

''So you two are friends now?'' you ask, something strange and foreign tinting your tone. ''Or have you guys started—''

''He's a benefit,'' Andrew interrupts. The sunglasses render his thoughts further invisible. He is a thing of well-fitting black placed within American-spaced property and nothingness. He evades the friend part with his answer. Like so often, he is making himself into invisibility and insinuation.

''You smell like excitement,'' you tell him and watch as his face jumps a little.

''You can smell feelings now?'' He snatches the phone from Neil's hands, maximally zooming into the location that Neil has been inspecting for minutes. Neil keeps looking in the empty space of the phone, hands hanging around phone-shaped air, before he drops them and buckles his seat belt. And you think: theatrics on the road.

You shrug. You can still sense Neil's panic.

''You smell like wet,'' Andrew retorts, looking who knows where. Having learnt from exposure, you know Andrew looks down on things he feels, and you soak in them. Leave him, he's just—

''Just start the engine,'' Neil says.