Neal meets Malcolm’s eyes, his own huge. “We need to get out of here, now. That’s propane.”
He starts forward to get Rachel, but Malcolm has already scooped her up—again, hot, but a poor time to say so. They hit the main floor and the smell is all but overpowering. Neal feels sick.
“We have to find Miss Windsor,” he says, logic lagging behind panic and concern. “You get Rachel and Ainsley out. I’ll join you.”
Neal staggers, hanging on to Ainsley and keeping her upright at the same time.
He turns around as soon as she's stable, taking a couple of quick steps back toward the burning building, numb with shock. There's something else under the numbness, a terror he knows is tied to Mathias. His breathing comes quicker, and he forces himself to turn back to the others.
Neal focuses on Rachel instead of answering right away, shedding his jacket and tucking it in around her on the damp grass. He checks her pulse, like he'll be able to tell anything from it beyond "she's alive," and for a moment he gets stuck with his fingertips against her skin. He stares at her without really seeing her.
"She blew herself up." His voice sounds like it's coming from somewhere a few steps to the left of himself.
"She was losing everything and she couldn't face it," Malcolm tells him. "She wanted to die with her school rather than live without it, without its principles, without the comfort of its walls."
“A daughter she had out of wedlock, against all the principles she preaches, that she hid in the attic like a dirty secret. A secret daughter the world was about to find out about because she murdered five former students. It’s worse than her worst nightmare. But do you understand why you couldn’t save her? If she couldn’t live for her child, why would she listen to you?” Malcolm points out gently, if bluntly.
Neal isn’t really listening to the lecture. Gil only has so much sway over him, that particular sway further damaged by Neal’s current opinion of the way Gil treats Malcolm and his personal space. They’re turned loose, finally, after giving statements and signing paperwork, and Neal breathes in the night air of the city with relief.
He looks over at Ainsley. “How were you not drugged?”
She holds out her fingers. “New nail polish. Changes colour if your drink’s been roofied. Thought I should at least act drowsy or she’d be suspicious.”
Malcolm looks at her. “This was insane, Ains. You know that right?”
She sighs. “My dad was a serial killer, too, Malcolm. I was young, but… I’m allowed to be messed up.”
Neal doesn't feel like he gets to weigh in here. Not on this particular conversation. Even if he doesn't think Ainsley really does get how messed up her behavior actually was.
But.
"When you said I was a performer, what did you mean?"
“I don’t know. I just did, okay? Anyway, I have to go.”
She puts her hand up and hails a cab.
“I have a story to write in the morning, before I get scooped. Take my brother home,” she says over her shoulder, getting in the car and slamming the door shut.
“Because you don’t understand giving up as a mindset. You live in a fluid way, adapting to whatever is thrown at you. She lived in an absolutely rigid cage of her own construction, demanding perfection from others only because she could demonstrate it herself. It was all she had. All she was. The idea of the lie of it being revealed was something she literally couldn’t live with. She couldn’t adapt to a world where she’d made a mistake,” Malcolm explains softly. “It’s tragic. It should feel like a tragedy. A waste. But it was her choice.”
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“…Do you smell gas?”
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He starts forward to get Rachel, but Malcolm has already scooped her up—again, hot, but a poor time to say so. They hit the main floor and the smell is all but overpowering. Neal feels sick.
“We have to find Miss Windsor,” he says, logic lagging behind panic and concern. “You get Rachel and Ainsley out. I’ll join you.”
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“Neal, no!” he all but screams. “There’s no time; you’ll be killed! Who do you think opened the gas?!”
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“Come on,” Ainsley gasps, grabbing Neal’s arm and practically dragging him along. She’s stronger than she looks, but then, so is Malcolm.
“We have to stop her.” It’s a feeble protest, and he doesn’t pull away from Ainsley’s grip.
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The explosion almost knocks them off their feet and he stumbles to hold on to Rachel without falling.
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He turns around as soon as she's stable, taking a couple of quick steps back toward the burning building, numb with shock. There's something else under the numbness, a terror he knows is tied to Mathias. His breathing comes quicker, and he forces himself to turn back to the others.
"Are. Is. Are you two okay?"
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"We're okay." He looks at Ainsley. "Call 911."
She takes her phone out and starts dialing.
He looks at Neal as he sets Rachel down gently. "Are you okay?"
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"She blew herself up." His voice sounds like it's coming from somewhere a few steps to the left of himself.
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"I don't understand it. She has a daughter. She has a daughter."
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"There's always a way. There's always, always another way."
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“Cops and EMS on the way.” She looks Neal over. “You don’t look so good.”
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She shrugs.
The police take Rachel into custody as she stirs and the three of them are whisked to the police station for a lecture from Gil.
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He looks over at Ainsley. “How were you not drugged?”
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Malcolm looks at her. “This was insane, Ains. You know that right?”
She sighs. “My dad was a serial killer, too, Malcolm. I was young, but… I’m allowed to be messed up.”
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But.
"When you said I was a performer, what did you mean?"
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She looks at him blankly. "Just. You... " She frowns. "I don't really... aren't you?"
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“I don’t know. I just did, okay? Anyway, I have to go.”
She puts her hand up and hails a cab.
“I have a story to write in the morning, before I get scooped. Take my brother home,” she says over her shoulder, getting in the car and slamming the door shut.
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At Neal’s, he draped his jacket over a dining chair and looks over at him.
“Are you okay?”
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A soft exhalation. "No, I'm. I don't know what I am. It's not that I haven't... I've seen violence. It's not that, really."
It's partly that, whether he'll admit it to himself or not. "It's the fact that she... that she would do that."
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