From the air, 13 looks about as cheerful as 12. The rubble isn't smoking, the way the Capitol shows it on television, but there's next to no life aboveground. In the seventy-five years since the Dark Days - when 13 was said to have been obliterated in the war between the Capitol and the districts - almost all new construction has been beneath the earth's surface. There was already a substantial underground facility here, developed over centuries to be either a clandestine refuge for government leaders in time of war or a last resort for humanity if life above became unlivable. Most important for the people of 13, it was the center of the Capitol's nuclear weapons development program. During the Dark Days, the rebels in 13 wrested control from the government forces, trained their nuclear missiles on the Capitol, and then struck a bargain: They would play dead in exchange for being left alone. The Capitol had another nuclear arsenal out west, but it couldn't attack 13 without certain retaliation. It was forced to accept 13's deal. The Capitol demolished the visible remains of the district and cut off all access from the outside. Perhaps the Capitol's leaders thought that, without help, 13 would die off on its own. It almost did a few times, but it always managed to pull through due to strict sharing of resources, strenuous discipline, and constant vigilance against any further attacks from the Capitol.
Now the citizens live almost exclusively underground. You can go outside for exercise and sunlight but only at very specific times in your schedule. You can't miss your schedule. Every morning, you're supposed to stick your right arm in this contraption in the wall. It tattoos the smooth inside of your forearm with your schedule for the day in a sickly purple ink. 7:00 - Breakfast. 7:30 - Kitchen Duties. 8:30 - Education Center, Room 17. And so on. The ink is indelible until 22:00 - Bathing . That's when whatever keeps it water resistant breaks down and the whole schedule rinses away. The lights-out at 22:30 signals that everyone not on the night shift should be in bed.
At first, when I was so ill in the hospital, I could forgo being imprinted. But once I moved into Compartment 307 with my mother and sister, I was expected to get with the program. Except for showing up for meals, though, I pretty much ignore the words on my arm. I just go back to our compartment or wander around 13 or fall asleep somewhere hidden. An abandoned air duct. Behind the water pipes in the laundry. There's a closet in the Education Center that's great because no one ever seems to need school supplies. They're so frugal with things here, waste is practically a criminal activity. Fortunately, the people of 12 have never been wasteful. But once I saw Fulvia Cardew crumple up a sheet of paper with just a couple of words written on it and you would've thought she'd murdered someone from the looks she got. Her face turned tomato red, making the silver flowers inlaid in her plump cheeks even more noticeable. The very portrait of excess. One of my few pleasures in 13 is watching the handful of pampered Capitol "rebels" squirming as they try to fit in.
I don't know how long I'll be able to get away with my complete disregard for the clockwork precision of attendance required by my hosts. Right now, they leave me alone because I'm classified as mentally disoriented - it says so right on my plastic medical bracelet - and everyone has to tolerate my ramblings. But that can't last forever. Neither can their patience with the Mockingjay issue.
From the landing pad, Gale and I walk down a series of stairways to Compartment 307. We could take the elevator, only it reminds me too much of the one that lifted me into the arena. I'm having a hard time adjusting to being underground so much. But after the surreal encounter with the rose, for the first time the descent makes me feel safer.
I hesitate at the door marked 307 , anticipating the questions from my family. "What am I going to tell them about Twelve?" I ask Gale.
"I doubt they'll ask for details. They saw it burn. They'll mostly be worried about how you're handling it." Gale touches my cheek. "Like I am."
I press my face against his hand for a moment. "I'll survive."
Then I take a deep breath and open the door. My mother and sister are home for 18:00 - Reflection, a half hour of downtime before dinner. I see the concern on their faces as they try to gauge my emotional state. Before anyone can ask anything, I empty my game bag and it becomes 18:00 - Cat Adoration. Prim just sits on the floor weeping and rocking that awful Buttercup, who interrupts his purring only for an occasional hiss at me. He gives me a particularly smug look when she ties the blue ribbon around his neck.
My mother hugs the wedding photo tightly against her chest and then places it, along with the book of plants, on our government-issued chest of drawers. I hang my father's jacket on the back of a chair. For a moment, the place almost seems like home. So I guess the trip to 12 wasn't a complete waste.
We're heading down to the dining hall for 18:30 - Dinner when Gale's communicuff begins to beep. It looks like an oversized watch, but it receives print messages. Being granted a communicuff is a special privilege that's reserved for those important to the cause, a status Gale achieved by his rescue of the citizens of 12. "They need the two of us in Command," he says.
Trailing a few steps behind Gale, I try to collect myself before I'm thrown into what's sure to be another relentless Mockingjay session. I linger in the doorway of Command, the high-tech meeting/war council room complete with computerized talking walls, electronic maps showing the troop movements in various districts, and a giant rectangular table with control panels I'm not supposed to touch. No one notices me, though, because they're all gathered at a television screen at the far end of the room that airs the Capitol broadcast around the clock. I'm thinking I might be able to slip away when Plutarch, whose ample frame has been blocking the television, catches sight of me and waves urgently for me to join them. I reluctantly move forward, trying to imagine how it could be of interest to me. It's always the same. War footage. Propaganda. Replaying the bombings of District 12. An ominous message from President Snow. So it's almost entertaining to see Caesar Flickerman, the eternal host of the Hunger Games, with his painted face and sparkly suit, preparing to give an interview. Until the camera pulls back and I see that his guest is Peeta.
A sound escapes me. The same combination of gasp and groan that comes from being submerged in water, deprived of oxygen to the point of pain. I push people aside until I am right in front of him, my hand resting on the screen. I search his eyes for any sign of hurt, any reflection of the agony of torture. There is nothing. Peeta looks healthy to the point of robustness. His skin is glowing, flawless, in that full-body-polish way. His manner's composed, serious. I can't reconcile this image with the battered, bleeding boy who haunts my dreams.
Caesar settles himself more comfortably in the chair across from Peeta and gives him a long look.
"So...Peeta...welcome back."
Peeta smiles slightly. "I bet you thought you'd done your last interview with me, Caesar."
"I confess, I did," says Caesar. "The night before the Quarter Quell...well, who ever thought we'd see you again?"
"It wasn't part of my plan, that's for sure," says Peeta with a frown.
Caesar leans in to him a little. "I think it was clear to all of us what your plan was. To sacrifice yourself in the arena so that Katniss Everdeen and your child could survive."
"That was it. Clear and simple." Peeta's fingers trace the upholstered pattern on the arm of the chair.
"But other people had plans as well."
Yes, other people had plans,I think. Has Peeta guessed, then, how the rebels used us as pawns? How my rescue was arranged from the beginning? And finally, how our mentor, Haymitch Abernathy, betrayed us both for a cause he pretended to have no interest in?
In the silence that follows, I notice the lines that have formed between Peeta's eyebrows. He has guessed or he has been told. But the Capitol has not killed or even punished him. For right now, that exceeds my wildest hopes. I drink in his wholeness, the soundness of his body and mind. It runs through me like the morphling they give me in the hospital, dulling the pain of the last weeks.
"Why don't you tell us about that last night in the arena?" suggests Caesar. "Help us sort a few things out."
Peeta nods but takes his time speaking. "That last night...to tell you about that last night...well, first of all, you have to imagine how it felt in the arena. It was like being an insect trapped under a bowl filled with steaming air. And all around you, jungle...green and alive and ticking. That giant clock ticking away your life. Every hour promising some new horror. You have to imagine that in the past two days, sixteen people have died - some of them defending you. At the rate things are going, the last eight will be dead by morning. Save one. The victor. And your plan is that it won't be you."
My body breaks out in a sweat at the memory. My hand slides down the screen and hangs limply at my side. Peeta doesn't need a brush to paint images from the Games. He works just as well in words.
"Once you're in the arena, the rest of the world becomes very distant," he continues. "All the people and things you loved or cared about almost cease to exist. The pink sky and the monsters in the jungle and the tributes who want your blood become your final reality, the only one that ever mattered. As bad as it makes you feel, you're going to have to do some killing, because in the arena, you only get one wish. And it's very costly."
"It costs your life," says Caesar.
"Oh, no. It costs a lot more than your life. To murder innocent people?" says Peeta. "It costs everything you are."
"Everything you are," repeats Caesar quietly.