[ "I'm sorry," makes him duck his head. As if he has any right to accept this, the figure who survived his own tragic play, when it would have been kinder if fate claimed him in the second act.
Easier to focus on the latter line of conversation. ]
I do. [ He nods, then pauses, glances at Markus for confirmation. ] I think I do.
[ To say Fitz understands the androids or Ophelia just because of the time he spent building AIDA or working with her, being with her, the fleeting hours where he just watched as she processed, talking him through how it felt — ]
There were too many other factors in play. [ Radcliffe's programming, the Framework, Leopold James Fitz. Love, then loss. ] And it was extreme, all of it. [ the physical and emotional drain more than any being could bear. He's eight months out and still in shambles. In truth, Fitz thinks he lives in the swing, always going from one end to the furthest reaches of the other — a quiet crest of emotion with Markus here, or a deadly slash at Daisy during the outbreak — but there are people catching his hand, fingers slipping through his own, trying to help him reach equilibrium until he can maintain it alone.
He doesn't know how to say what that means to him. Instead, it's something he'll need to show, when the opportunity presents itself. ]
That's what I told Daisy, when she asked me about her. And you. [ exhaling. ] Only no one else sees it that way, not yet. [ his voice lowers. ] Ophelia is our Elysian. More localised, but.
[ When Daisy, when anyone from his team meets Markus or Connor — or someone like them — they're going to see her. The man Fitz was with her. What she did. How she couldn't cope with being human for a mere forty-eight hours. ]
I should have told you the truth from the jump. [ because Markus deserves that, even though it's hard, complicated, much more than artificial intelligence gone haywire. He holds steady, then. ] I’m sorry I didn't.
no subject
Easier to focus on the latter line of conversation. ]
I do. [ He nods, then pauses, glances at Markus for confirmation. ] I think I do.
[ To say Fitz understands the androids or Ophelia just because of the time he spent building AIDA or working with her, being with her, the fleeting hours where he just watched as she processed, talking him through how it felt — ]
There were too many other factors in play. [ Radcliffe's programming, the Framework, Leopold James Fitz. Love, then loss. ] And it was extreme, all of it. [ the physical and emotional drain more than any being could bear. He's eight months out and still in shambles. In truth, Fitz thinks he lives in the swing, always going from one end to the furthest reaches of the other — a quiet crest of emotion with Markus here, or a deadly slash at Daisy during the outbreak — but there are people catching his hand, fingers slipping through his own, trying to help him reach equilibrium until he can maintain it alone.
He doesn't know how to say what that means to him. Instead, it's something he'll need to show, when the opportunity presents itself. ]
That's what I told Daisy, when she asked me about her. And you. [ exhaling. ] Only no one else sees it that way, not yet. [ his voice lowers. ] Ophelia is our Elysian. More localised, but.
[ When Daisy, when anyone from his team meets Markus or Connor — or someone like them — they're going to see her. The man Fitz was with her. What she did. How she couldn't cope with being human for a mere forty-eight hours. ]
I should have told you the truth from the jump. [ because Markus deserves that, even though it's hard, complicated, much more than artificial intelligence gone haywire. He holds steady, then. ] I’m sorry I didn't.