He considers this, then nods. "Good. I had to tell Godric not to kill himself, too. Maybe even Rogers. I don't want to have to tell you that, too." That's two wants in a row, but this one is easier to say than the last one.
"I thought I'm supposed to be the one telling you stuff."
The sentiment isn't lost on her, though. It's nice that people prefer her alive than dead--that chat with Marlene didn't leave her feeling better about herself. For Marlene, there was still hope for some sort of cure.
He shrugs, and finally puts his fingers on the piano keys, just the right hand, making a single stepped triad, a pretty little harmony. "I guess I'm doing the inmate thing wrong, then." He actually doesn't sound serious. He sounds ultra-bland, which is a cue Ellie will recognize by now as his attempt at humor.
She does, and it makes her huff out a breath of air as she lowers her legs and leans down to get her guitar.
"Smartass," she mutters, but there's nothing cruel about it. "So, now that we've established this place is out to fuck with us, what do you want me to do?"
He kind of likes being called a smartass. Sass is fun. Only with people who are edging into "safe", but still. "Pick a song. A good song. I want to try and play it on the piano." Which means hearing her play it very, very slowly so he can match guitar note to piano key.
He's not the only smartass. Ellie settles the guitar on her leg. "I'll play it first, then go way slower, okay? And I'll spare you the singing."
True Faith is a classic, but damn sometimes those lyrics hit deep. She's got it memorized at least, even if her guitar playing hasn't seen much of the light of day here, so it comes easily.
It also seems like something that would translate well to piano. There's more plucking than strumming, not very many chords to work out, just lots of notes in sequence to work out, with some slight dual-note harmonizing. B listens close, and thinks he can maybe even do it.
He's so busy focusing on the notes he couldn't even really tell you if it was a nice song or not. What he can say is, "You're good." Not a single mis-plucked note, as far as he can tell.
"I'll remember that." He's not actually sure if he knows how to do that, unless it's just compliments when deserved? But he'll remember. More importantly, though: "That shouldn't be too hard to turn into a piano song. Just need to put the notes to the right keys. Can you play it again? In pieces?"
"No." He finds the first note, then works out the next two based on how close they are in sound. Three steps up-- no, three and a half-- repeat, repeat, then a descending scale for two more notes. "I have. Muscle memory. Skills remain when context does not. Remembered sewing." And HYDRA never would have made him repair his own gear. That would require being out of the ice for anything other than missions. "So I'd know how to play if I ever did it before."
He repeats the sequence, to make sure it sounds right. "With a needle and thread in the right color. Yes, I could. Though I can't knit. I remember that, too." He considers a moment, then asks, "Are needles allowed for inmates? Or are they too sharp, like weapons?"
"If you can have utensils, you should be able to have a needle." Anything is a weapon if you try hard enough, is Ellie's motto. Maybe not the Admiral's.
"Okay." He picks out those notes, one at a time, taking a moment and a couple tries for the last. "Then. I might need one. And thread." He hesitates, uncertain. Asking is hard, in general, but now he's unsure about the chain of command. "You're not my warden now. Should I ask Misty?"
She does seem nice. In a weirdly authoritative way. "Told me. No more maintenance. Then made me a whole store in the Enclosure to destroy when I cried about it."
He slowly but neatly puts the two sets of notes together, playing through the whole phrase.
"No. Yes. I don't know." There'd been a lot of things he felt in that moment, and it's hard to pick them apart. He frowns at the keys a little, and runs through the musical phrase he has again, still slow and careful, like he's focusing on that to keep from getting upset, now. "Sometimes tears just happen. And I don't really know why. It's like the punching thing. Except the only thing it hurts is my face."
When he puts it like that, he'd rather cry than punch things. Now if only he could nudge his stupid emotional reactions that way all the time.
"That's depressingly relatable," Ellie mutters, a thought she'd usually keep to herself, but she's been open already with him. He knows she's not a ball of sunshine.
"But crying is good, sometimes. Gotta let that shit out even if you don't know why."
"Yeah, that. Like that." That's weirdly relieving. It's not like he ought to have the same emotional reactions as a teenager (young woman, he really doesn't know exactly how old she is), or even a person in general, but it's still kind of comforting that someone else feels the same thing.
He runs through the melody he has so far once more, and now his fingers know it, so it flows easily, like hers did on the guitar. It's only a couple of measures, but it sounds nice. "It's hard to put the right name on something. Sometimes."
He's better, now, at knowing which notes are what. He has the key worked out, though he doesn't know the word for it. So it's easier to match this set with the notes on the piano, and he plays it near-perfectly after she does it. Repeats it once with a minor correction.
That gives him a little more brainpower left over for the statement. "If it doesn't need a name. Is that easier or harder to manage it." He'd rather not fuss about putting names to feelings. He has no context for things, no idea what angry versus afraid versus jealous versus annoyed are actually supposed to feel like. But then how does he untangle the punching-crying thing?
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The sentiment isn't lost on her, though. It's nice that people prefer her alive than dead--that chat with Marlene didn't leave her feeling better about herself. For Marlene, there was still hope for some sort of cure.
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"Smartass," she mutters, but there's nothing cruel about it. "So, now that we've established this place is out to fuck with us, what do you want me to do?"
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He's not the only smartass. Ellie settles the guitar on her leg. "I'll play it first, then go way slower, okay? And I'll spare you the singing."
True Faith is a classic, but damn sometimes those lyrics hit deep. She's got it memorized at least, even if her guitar playing hasn't seen much of the light of day here, so it comes easily.
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He's so busy focusing on the notes he couldn't even really tell you if it was a nice song or not. What he can say is, "You're good." Not a single mis-plucked note, as far as he can tell.
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"Thanks. I do accept ass kissing at all times, you know."
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"Yeah, sure," she says, and slowly plays the first few notes for him.
"Do you think you played music before?"
Before the whole stasis sleep stuff.
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Ellie gives him a few more notes.
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He slowly but neatly puts the two sets of notes together, playing through the whole phrase.
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She pauses on going on with the tune. That's news to her.
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When he puts it like that, he'd rather cry than punch things. Now if only he could nudge his stupid emotional reactions that way all the time.
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"But crying is good, sometimes. Gotta let that shit out even if you don't know why."
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He runs through the melody he has so far once more, and now his fingers know it, so it flows easily, like hers did on the guitar. It's only a couple of measures, but it sounds nice. "It's hard to put the right name on something. Sometimes."
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"Not everything needs a name." Dina would try to make her talk. Talk about Joel, talk about how she feels, but she couldn't find the words.
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That gives him a little more brainpower left over for the statement. "If it doesn't need a name. Is that easier or harder to manage it." He'd rather not fuss about putting names to feelings. He has no context for things, no idea what angry versus afraid versus jealous versus annoyed are actually supposed to feel like. But then how does he untangle the punching-crying thing?
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