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If You Burn, I Burn Too

Chapter 28: Where You Are

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Diesel opened the door and the expression on his face moved through more things in two seconds than Day had ever seen a face move through.

Shock first — genuine, complete, the shock of someone who had not been expecting this particular configuration of the universe.

Then something that Day recognized as the involuntary thing — the response that happened in Diesel's face before he could arrange it, the one that was only ever real, the one that had no performance in it.

Then the management arriving, the composure assembling, years of practice trying to do what it had always done.

And then — not making it. The composure assembling halfway and stopping, because the person in front of him was Day and the composure had never quite worked on Day and had stopped entirely working several months ago.

He stood in his doorway.

Day stood in the corridor.

They looked at each other.

"Men came to my room," Day said. His voice was even. Not cold — focused. "Your father's people maybe. They were looking for you. They think we're together, which means they'll come back when they've decided I was lying, which I was." He held Diesel's gaze. "You need to know they're in this city."

Diesel was very still.

"Are you hurt," he said.

"No."

"They didn't—"

"No," Day said. "They asked questions. I answered. They left." He paused. "But they'll come back."

Diesel nodded. The processing happening behind his eyes — the assessment of the situation, the practical calculation. Day watched it and waited.

"Come inside," Diesel said.

Day came inside.

He had not known what he expected.

He had known, abstractly, what Diesel's life looked like now — had constructed it from the news stories and the timeline and the things Malee had told him and the things he had assembled from the shape of Diesel's absence.

He had not known what it would feel like to stand in it.

The room was small. The desk was by the window. The books on the floor beside it were not decorative — they were being read, pages marked, the evidence of someone using them. The kitchen corner was — he looked at the kitchen corner — actually used. The pan on the stove had the particular finish of a pan that had seen regular use and imperfect cleaning and had been kept anyway.

He was cooking.

Genuinely cooking. The pan and the organized-enough counter and the small collection of things that constituted a kitchen being used by someone learning to use it.

Day looked at this.

He looked at the desk — the work on it, the laptop, the documents in careful stacks that were not the documents of his father's world but something else, something that looked like the beginning of something rather than the management of something established.

He looked at the windowsill.

P'Nit's photograph.

In this room, on this windowsill, brought here. The one object from the previous life that had made the journey.

Day looked at it for a moment.

He felt something move through him — not the hurt, which was present, not the anger, which was also present — but something alongside them, something that had to do with the room itself and what it said. The room said: this is a person who has set down every false thing and is living on what remains. It said: this is a person who has given up the performance entirely. It said: this is what it looks like when Diesel Suthilert is only himself and nothing else.

Day looked around the room.

He felt something that was — he searched for the word and found it and it was correct — pride.

The pride of someone who had known a person when they were inside a structure that was crushing them and was now seeing them outside it, standing upright on their own, and finding that what they looked like without the structure was — more. Larger. More real.

He felt proud of him.

He had not expected to feel proud of him.

It moved through him quietly, without announcement, sitting alongside everything else.

Diesel was watching him look at the room.

"It's not much," he said.

"I know," Day said.

"The lift is—"

"I noticed."

A pause.

"You found me," Diesel said. Not accusatory. Just — stating.

"The café," Day said. "The owner described you." He paused. "I'd already — I think I'd already known you were here. For a while."

Diesel looked at him.

"The train station," Day said. "Tuesday. You were on the northbound."

Something crossed Diesel's face. "I didn't see—"

"You were looking at your phone."

Diesel stood in the center of his small room and looked at Day standing at the edge of it and the expression on his face was the fully open one — undefended, everything visible, the one that Day had learned to read in all its registers.

"How long have you been in this city," Diesel said.

"About as long as you, I think," Day said.

Diesel absorbed this.

He looked at his hands briefly — the gesture he made when something required processing that his face couldn't contain.

"Day," he said.

"I know," Day said.

"I need to say—"

"I know," Day said. "And I need to say things too." He held Diesel's gaze. "But first I need you to know about the men. They'll come back. We need to think about that."

"Yes," Diesel said. Assessing the situation. "Yes, you're right."

They stood in the small room.

The pan on the stove. The documents on the desk. P'Nit’s photograph on the windowsill.

"Okay," Day said. "Tell me what you know about them."

They sat down.

They worked through it — the things that needed to be done and the order in which to do them. Diesel knew who they were, had anticipated that the collapse would produce this kind of residual, had been less prepared for it arriving in this city because he had not known Day was in this city and had therefore not understood why they would come here.

He understood now.

They worked through it side by side at Diesel's desk, Diesel's knowledge of the remaining structure combined with Day's practical, sequential thinking, and it was — Day noticed it, could not help noticing it — the same as it had always been. Their minds going in the same direction. The same quality of complementary attention.

They worked for an hour.

When they had what they needed — the calls to make, the lawyer to contact, the specific steps that would remove the immediate threat — they stopped.

They sat at the desk.

The room was quiet.

Outside, the city was doing its afternoon things.

Day looked at the desk. At the documents, the laptop, the work that was not his father's work.

"What are you working on," he said.

Diesel looked at the documents.

"A foundation," he said. "Not — not like my father's. Something actual. There are infrastructure issues in three provinces that the government reporting has been overstating for years. I've been building the real picture." He paused. "I have contacts now. Journalists, investigators. People who know how to use information to make things better rather than—" He stopped.

"Rather than to protect people who are making things worse," Day said.

"Yes."

Day looked at the documents.

He thought about Diesel in his father's house, counting light fixtures, eating hidden biscuits, learning to perform a life that was not his. He thought about this room.

He thought about what it meant to build something from what was left after burning down everything that was false.

"It's good work," Day said.

Diesel looked at him.

The expression — the one with no name, the fully open one.

"Day," he said.

"I know," Day said. "We need to talk."

"Yes."

"Not about the men."

"No," Diesel agreed. "Not about the men."

Day looked at him.

Diesel looked back.

The room held them and the afternoon held the room and everything that had been building since a Tuesday morning in a borrowed apartment waited in the space between them with the patient, accumulated weight of things that have been waiting long enough.

"Say it," Day said.

Notes:

Hi, so this is inspired by Day and Diesel but that is probably it. Also the creative idea is mine and some character names including Diesel's is different than that of their own show. It's my first time doing something like this so please don't be mean :)