Office of the Road Boss
In which Miri’s day suddenly gets more interesting.
So, Pat Rin did send the alert to both Val Con and Miri, regardless, which makes perfect sense and is what I would have assumed in the first place if the narrative hadn’t implied otherwise.
It annoys me that this is what I’m thinking about when there’s a dramatic climax going on.
Speaking of that dramatic climax, though, I notice the narrator doing some dancing around what’s actually happening. The weapon at the end is described as “something that might’ve been a shotgun”, which means it might not’ve been. And there’s no mention of it giving her an actual injury in the present, but instead of her suddenly reliving all the memories of past injuries. Which is reminiscent of what the Department tried to do to her on Vandar, in a way that somebody might’ve thought was poetic justice.
And in between all that there’s a passing mention that Miri’s sense of Val Con, which has always been a visual pattern, has started developing an auditory, if not yet quite a musical component like Val Con’s sense of Miri.