The Conversation
Final Part of The Interview [Part One] [Part Two] [Ao3]
Steve finishes putting on his boots, shoves a beanie on his head, and grabs his thermos of coffee before heading outside. Robin had texted when they left Pendleton so they should be arriving soon, and he wants to make sure the dogs stay clear of the driveway, and also finish some of the chores he is being lazy about. The mountain air is cold in February, and the snow is deep, but it's still warm for a winter day in Eastern Oregon.
His childhood house had been at the edge of a little forest. His current home is tucked away in the woods, trees for miles, and the nearest neighbor farther still than that. He's lived a lot of places, been able to see the whole of America almost, and in the process, he's learned that he'll always be a small-town boy. The real revelation is how at home he feels in this two-bedroom cabin sequestered away from any town at all. Sure, he's got to drive a little over half an hour to get to the nearest grocery store, but he's learned he likes that.
He's got 1600 acres of woods all to himself and the dogs. He's owned this property for almost four years, but recent events made him finally move out here. Originally, he'd bought it to make it as another flip project, but something in his gut told him to make it a vacation home / safe haven for his family instead. Robin, mainly, as a getaway from the LA life and overwhelming spotlight she'd started to face as her music career took off. He might be turning it into his permanent home and base of operations, but everyone knows they're still welcome.
Anyway, the day might be warm for winter, but the night won't be, so Steve sets his thermos on the top of the wooden railing of the porch and heads down the steps to the woodshed. The plan in the summer is to update the cabin, which includes adding central air and a good heating system, but until then, portable heaters are in the bedrooms and the wood stove gets the rest of the cabin. There's also plans to start the construction on the guest house. It's going to be a busy summer.
He replenishes the woodpile on the porch from the woodshed and debates chopping more but decides against it. That can be a tomorrow chore. Next is cleaning up the snow paths he's made previously. Doesn't want anyone falling on their ass on the way to the house, no matter how funny that'll be to watch. As usual, Pancake makes the task difficult because she wants to play with the snow shovel. Melody cries until he throws snow into the air by the shovel full for her to play in. Chowder, old man that he is, supervises from the porch, front paws hanging just off the top step.
It's rough going but he manages to complete the few chores, even with two dogs underfoot.
Steve is on the front porch, forearms holding his weight as he leans against the railing, thermos of coffee between his hands, taking in the afternoon sun and enjoying the silence when Dustin's work truck slides into the driveway. Almost literally, given the foot and a half of snow still on the ground. The driveway is long, okay. Steve's doesn't have enough time in his day to keep up with salting it all.
It'll be strange to see Eddie after all these years. He still can't believe Robin got him to come. When he'd asked how she did it, she brushed him off with an it's not important.
Speaking of Robin, she's the first person out of the truck, sliding out of the passenger seat and then cursing when she drops right into the snow. She shoots an accusatory look towards the cabin, and therefore Steve, like he placed the snow there himself, when the fault is Dustin, who has left the driver side with plenty of room between the truck and the snowbank.
Dustin gets out of the truck and Steve faintly hears him say this side, man, less snow before pushing his door closed and turning to brace himself as Pancake and Melody rush from the porch to circle like sharks, barely restraining themselves from jumping up. Chowder follows after slowly, taking his sweet time getting to Robin, his favorite human. Steve can't even be jealous about that because Robin is his favorite human, too.
The back driver side door opens, and he watches as Eddie Munson all but falls out of the truck. It's the least graceful anyone's looked getting out of the back of the truck and that's counting Chowder and his old man hips. Seeing Eddie again is- well, it's a lot of emotions all at once, but they're are all overshadowed at the moment by how Eddie looks... well, bad. His hair is longer than Steve's ever seen it, a little longer than mid-back length, but it looks like it hasn't seen a proper hair brush in a couple of days. Even from this distance Steve can see the bags under his eyes. He looks like he hasn't slept in days.
He pushes himself off the railing and meanders down the two steps, waiting for them to notice he's waiting. Robin trudges out of the snow berm and to the front of the truck, where Chowder is waiting patiently for his pets and kisses. Dustin has managed to get Melody to stop hopping in front of him so she can get her side scratches, and Pancake has realized there is a new, third person with a set of hands currently not petting her, and is circling Eddie, waiting for him to reach down and pet her but he just stands completely still, heading tracking her in her circles.
"She's friendly, I promise," Steve calls out, which makes Eddie's head snap up to look for the source of the voice. Well, everyone looks, but Eddie looks like he's seeing a ghost, which. Fair. Steve kind of feels the same way.
"Hello, Dingus," Robin calls as she stands from her crouched position, where she's been cuddling Chowder. As soon as she stands, he starts making his way back to the porch. "I have delivered one Edward Keaton Munson. You are not allowed to ask anything of me for, at minimum, a year."
"Steve! Why didn't you tell me you knew the Eddie Munson?" Dustin shouts.
Robin is scoffing, clearly offended. "Am I not famous enough for you Henderson!?"
"Get back to me when you've run a 24-hour Dungeons and Dragons live stream for charity!" Dustin shoots back, then has to dodge Robin's half-hearted punch aimed for his arm.
Eddie stays silent, looking more pale than when he got out of the truck. Steve's a little concerned he's going to faint.
"You been living under a rock, Dustin?" Steve asks. "My knowing him is apparently the only thing on the internet currently."
Dustin puts his whole head into the eye roll. "You spend a month backpacking with your girlfriend in the southern hemisphere and you never get to hear the end of it. I told you I'd catch up on your drama after I catch up on my DnD Live Plays."
"You also missed me winning a Grammy, you know."
"I thought Steve's thing was more important?"
"You are impossible, Henderson."
"You guys going to argue in the snow all afternoon, or do you want to come inside?" Steve says then places his fingers in his mouth and whistles. Melody and Pancake dash for the front door, where Chowder is already waiting. Dustin, Robin, and a still eerily quiet Eddie fall into line to walk the trail to the porch Steve had cleared.
Steve jumps the steps, grabs his thermos, lets the dogs in, and then holds the door for everyone else. Robin and Dustin breeze past, but Eddie slows, eyes jumping around Steve's face as they just look at each other for a moment. Eddie opens, then closes, then opens, then closes his mouth.
"Hi," Steve offers up, shifting a foot to hold the door open so he can wave his fingers at Eddie.
Eddie swallows thickly, then whispers back, "hey."
"In the house, Eddie. Don't want to let too much cold in," Steve tilts his head towards the doorway.
"Oh, right, sorry," that kick starts Eddie again and he crosses the threshold, Steve close behind.
Robin and Dustin are currently occupying the bench just inside the door, taking off their shoes. Once Dustin has his boots off, he leaves the bench, heading to the kitchen. Eddie seems lost, just standing in the entryway, so Steve takes the spot Dustin just left and proceeds to undo the laces on his boots. He gets one boot done by the time Robin stands, wandering after Dustin once she's hung up her coat, scarf, and gloves. Eddie doesn't move still, so Steve pats the empty spot beside him.
"No shoes in the cabin. Dogs track in enough snow, don't need us doing it too," Steve says, then busies himself with his other boot.
He sees Eddie sit and begin to untie his- jesus, he's not even wearing boots. Just a black pair of sneakers. Eddie unties his shoes in silence, sitting rather stiffly next to Steve.
This quiet, obedient Eddie is not what he expected.
"You want something to drink?" Steve asks, once both of them are free of their shoes.
"No, thank you."
"Alright. Have a seat, then," he gestures towards the couch. The cabin door opens up directly into the living area, which Steve has set up as 3/4th a living room and 1/4th dining room, in that a small kitchen table is along the far wall. Beyond that wall is the kitchen, where Robin and Dustin are undoubtedly helping themselves to his coffee or hot chocolate.
Eddie shuffles off to sit on the edge of the couch, as close to the armrest as he can get. Now that Steve can see him closer, he can see he's added more piercing to his face than just the eyebrow ring he wore in high school. Snake bites, a septum piercing, and a second eyebrow ring next to the original. He's sure that if Eddie's hair wasn't covering his ears, he'd see more metal there. Eddie had hung up the coat he'd been wearing but under that is a hoodie he didn't take off, so Steve can only guess if he ever got those tattoos he'd been planning in high school. His entire outfit is black, which just makes him look sickly in the cabin lighting.
Steve drops himself into the chair facing the couch. It's Melody's favorite chair to curl up in, but Steve thinks she'll forgive him for taking it. There's tension in the room, so he tries to break it. "You look like you've seen a ghost, dude."
Eddie makes a weird nose, almost a whimper or a whine, but before he can say anything, Robin rounds the wall, holding a mug of hot liquid and she says, "Oh, I'm sure he feels that he has. I didn't tell me we were coming to see you."
"Robin!" Steve is shocked.
"What? You said you wouldn't mind getting some closure, so I got him here. Does it matter how?" She takes a seat on the opposite end of the couch from Eddie, making a show of how comfortable she is in the space by sitting cross-legged and leaning back against the couch, in comparison to Eddie who is sitting up completely straight, barely on the couch with how close to the edge he's sitting.
"Yeah, it does! If he's not here voluntarily- if Eddie doesn't want to talk to me you can't-"
"I do," Eddie says. It grabs Steve and Robin's attention and Steve sees Eddie almost wilt under their twin stares. He clears his throat before continuing, "I mean, I would have come still, if she'd told me. I do want to talk to you. Apologize for.... for everything. So much I don't even know where to begin, or how."
"Uhh, this feels like something personal," Dustin says from where he's standing with his own mug, hovering nearby. "Should I be here for this?"
Good question. Steve doesn't care if Robin and Dustin hear what they talk about, but Eddie might. "How about we just relax a bit. How was the drive?"
Eddie scrunches his face, a half confused expression on his face.
"Fine," Robin says at the same time Dustin says, "Tense as fuck."
"Those two things don't seem like they match," Steve says.
Dustin moves to plop himself on the couch in between Eddie and Robin, then quietly curses as his drink sloshes over the edge of the mug. He starts mopping at it with the sleeve of his shirt as he says, "Robin is a liar. The tension in the truck is going to linger that's how bad it was. I'll be feeling the tension every time I get in the rig. Clients will feel the tension when I pull up to their curbs!"
"It was not that bad!" Robin swats Dustin. Successfully this time, since there's no way for him to dodge unless he wants to spill his drink again.
Steve just laughs. "Robs, light of my life, mate of my soul, knowing you and your grudges, Dustin's probably going easy on the description of the tension here."
"Well, there wouldn't be tension if I was allowed to say what I want to say."
"Can we go, like, five minutes without your negativity?"
"My negativity!? I'm not negative, I'm rational and level-headed!"
"You are not sounding very level-headed right now."
Dustin chimes in, "Steve's right. Level-headed people don't have to shout that they're level-headed."
"What say you, Eds?" Steve asks, the old nickname slipping out. He doesn't have time to be embarrassed about it though.
Eddie stands quickly and flings his hands in the air, having reached an invisible limit Steve is unaware of, pacing about the living room as he basically shouts, "Why don't you hate me!? You should hate me! I hate me! I can't- why are you just sitting there, trying to have a-a decent conversation with me? You should be screaming at me! You should be mad! Why aren't you? My fuckin' song ruined your life!"
The silence in the living room is heavy following that, all eyes on Eddie. Even the dogs, who had been in various states of sleep, lift their heads and look in Eddie's direction.
He looks mortified by the out burst, and his face turns red. "I-I'm sorry. I- I'm just, I'm sorry. I need air."
They all watch silently as Eddie jams his shoes back on and goes out the front door without tying them or grabbing his coat.
Steve sighs, deep and annoyed. At Robin and himself. He looks to Robin and she looks shocked by Eddie's outburst. She was watching the door, but turns her head to meet Steve's eye, a small frown on her face.
"Well, it's not like he's going far," Dustin says. "You going after him?"
"I don't know if I should."
Dustin scoffs. "Don't be an idiot, of course you should. We drug that guy to the middle of nowhere to talk to you. He agreed to come to the middle of nowhere even though I could have been a hit man hired by Robin to off him in the woods and he didn't even complain. Didn't even question. I don't know what happened, but I think you two need talk it over."
Steve blinks at Dustin. "Since when did you get so wise?"
"I've always been wise. You just refuse to see it with your ageism. Go. Robin can fill me in on the beef, here in the toasty, cozy cabin, while you two chat in the cold, and freeze your asses off."
"I don't have ageism-"
"Wrong argument to be having, Steve!" Dustin interrupts. "And take another cup of coffee with you. Even if he doesn't drink it, dude doesn't have gloves either so y'know, warm the hands."
Steve does just that. Fills his other thermos with coffee, taking a chance by adding cream and sugar, before putting his boots, coat, and beanie back on. He throws Eddie's coat over his arm and tucks both thermos' against his body with that same arm so he can have a free hand to open the door.
Eddie isn't far. He's pacing back and forth in front of the truck, talking to himself.
Taking a deep breath to steel himself, Steve steps off the porch and makes his way to Eddie. "Hey."
The pacing stops and Eddie turns to look at Steve. They just look at each other as Steve approaches. Steve doesn't stop until he's close enough to reach out and touch before he shuffles the two thermos's to his other arm and extends the one with Eddie's coat on it out.
"Thank you," Eddie says, taking the coat and shoving himself into it quickly.
"Brought you coffee, too," Steve holds out one thermos and after a pause, Eddie takes it, too, then almost instantly brings his other hand up to cradle it, warming his fingers.
He looks up from the thermos and meets Steve's eye. "I am sorry, Steve. I'm sorry for how things ended between us, and for the song I wrote, and for-for not thinking about how people would be able to work out that you were the Steve from Hey Steve. You should hate me for that alone. I'm so sorry for everything that's happened because I didn't think of the consequences."
"I don't- I don't hate you man. Not... not anymore. Not for a long time."
"Well, you should!"
Steve frowns. He wants to argue because who is Eddie to tell him how he should feel? But that's not going to help anything. "When Robin called me. During her interview after the Grammy's and asked if she could tell the truth I never- I didn't know what she meant by the truth. But. Well, nothing she said was a lie, but it wasn't the full story."
Eddie stays silent, seemingly waiting for Steve to continue.
"Those first two years after our breakup were- I'm not going to lie, they were fucking awful. I think I received my first bit of hate mail the very same day Hey Steve released. It was harsh. All from the same person, but sent to my Facebook and my Twitter and Instagram. Guess they really wanted me to read it.
"And then, with each passing day, a new person, new message, just as awful. After three days I deleted Instagram and Twitter. Then I locked down Facebook but like- physical letters showed up at my house. I can't lie, it certainly felt like you'd ruined my life."
Eddie makes a wounded sound at that. "That's because I did! What I did was unforgivable and-"
"You don't get to decide for me if I forgive you or not!" Steve snaps. "I haven't actually said I did forgive you, did I? All I've said is I don't hate you."
That gets Eddie quiet again for a moment, then he says, "you ended up hospitalized because of me."
"Robin said I ended up hospitalized, and that's true, but it wasn't- It was more complicated that just being your, and your fans', fault. For people who were supposedly on 'your side' of our breakup, they used a lot of homophobic language. That's how my mom found out. The letters were easy enough to just get rid of because all the bad shit was on the inside, but someone sent a post card, and mom collected the mail that day. It's... I don't like talking about this."
"Then don't," Eddie is quick to say, "you don't have to explain anything to me, or make yourself relive these events. It's- you don't owe that to me."
"I think I need to. I wrote you a song, said I'd do it all again, and I meant that. I want you to understand why. Just. Just give me a minute."
Eddie nods and takes a sip of his coffee. He looks pleasantly surprised and takes bigger drink before his face falls into a frown as he stares down at the thermos and Steve has to look away. He turns and squeezes his eyes shut to continue. "Mom showed the postcard to my father, and he confronted me that evening. It was.... it didn't start off bad. He asked if it was true. That I was gay. I made a choice, then. I didn't have to; I could have lied. I could have told him I was straight and that I didn't understand what the postcard was saying, but I didn't.
"I knew how he felt about queer people, and I told him the truth anyway. I was bisexual. I thought it was a miracle that he didn't kick me out instantly. Instead, he calmly asked me if that meant I liked woman. I said it meant I liked more than just woman.
"Then he told me that didn't matter. That so long as I liked woman, I would be with a woman, and that we never had to speak of this again. And I told him no. He didn't get to decide that for me. He said that he would rather have a dead son than a faggot one. And I thought- I never- surely he was just meaning, like, metaphorically, right? Like, he'd disown me, kick me out or something so I scoffed and said- God, I was so stupid. I knew it wasn't safe, but I was so angry at him, I shouted 'dead or alive, I'm your faggot son so deal with it.' And he- he said 'dead it is' and he attacked me."
He hears Eddie suck in a breath, hears the crunch of snow in what could only be Eddie taking a step towards him but stopping after just one step. Steve doesn't know if he wants Eddie to close the distance and give him the hug he knows Eddie wants to do. Steve doesn't know if he'd welcome the embrace or not. He sucks in his own shaky breath, and continues, "He almost beat me to death that night. The only reason he didn't was because mom dialed 911," Steve turns around, looks at Eddie and sees the tears falling down his own face reflected on Eddie. "As far as I know, dad's still serving time for his attempted murder, so like, at least I don't have to worry about him. And mom... I don't even know what to think of that.
"She called 911, didn't want to see me die, I guess, but also couldn't have a gay son. She sold the house, and everything in it, while I was still in the hospital, and just... disappeared. Robin's family took me in. She told that story during the interview, you knoe, but I wasn't even at the house when that guy with the gun showed up. I was meeting with a lawyer.
"She-Mom was- I don't know what she was trying to do but she gave me the family business. The whole company! It felt like she was trying to buy my forgiveness, except she didn't ask for it and still hasn't contacted me. It's like... she felt guilty about what happened but hated me at the same time. Felt she needed to do something to alleviate her guilt? Or maybe she just wanted to cut herself free of the whole Harrington name; free herself from me and my father. I don't think I'll ever get closure for that one."
Steve quits talking, needs to take another moment. He'd already rambled on about more than he meant to but talking to Eddie had always done that to him. Afterall, before they dated, they'd been friends. He sips at his coffee, not knowing what else to say.
"Jesus, Stevie, I'm so sorry. I didn't know- It's no excuse but I'm just so sorry."
He doesn't think Eddie knows he called him Stevie, but it's nice to hear. "So, see, it wasn't your fault. Your song set things into motion, for sure, so it's nice to hear an apology, but like, if anyone is the bad guy in this situation, it's Richard Harrington."
"But Robin said she just had to help you move to here. That you still get hate mail, and doxxed. That's on me. I saw your list of addresses, Steve! You've had to move, like, eight times a year!"
Steve can't help the cackle that springs from him. He surprises himself with the laugh, and Eddie, too, if his wide eyes and eyebrows hidden behind his bangs are any indication. "I- yeah, I move a lot. And yes, this most recent move was because of a brick with Hey Steve scratched into it broke my living room window, but like, I've only had to move because of harassment like, four times, if I'm counting the whole mom-selling-the-house thing."
"What?"
Steve holds up a finger, adding a new one as he counts them out. "Mom sold house. Scary gun guy at Robin's. The year anniversary of your first album's release. I was still in Hawkins, figuring out what to do with all the money I'd, uhh, inherited I guess, so I was easy to find. And the most recent one. Not sure what inspired it this time. Usually, the hate mail resurges when you go on tour, but it's less and less every time. Anyway, none of those other moves are because of crazy fans."
Eddie blinks at him, a picture of confusion. "But I found a YouTube video and that guy- he showed all your old addresses. He said- I thought..."
"Well, there are a lot of addresses. But not because of your fans. I move for my job. Do you... did you even read the truck?" Steve gestures to Dustin's truck and Eddie steps around to see the printed H&H Project Flip and below that is their website.
Eddie looks back to Steve like that answers nothing. Which, fair, but it would answer a lot of questions if Eddie had looked up the website. "After that surge of anniversary hate, I knew I needed to get out of Hawkins. Robin was graduated, then, and headed to college. I decided I wanted to see more than just Hawkins. I followed Robin to college in Chicago, and uh, bought a house. A real fixer upper but that was fine. I had plenty of money to throw into it. On a whim I thought, what if I try to fix it. I had a lot of free time and if it ended up badly, I could afford to pay a professional to fix whatever I broke. I found that I loved doing that."
He's still just being looked at like he's not making sense.
Steve rolls his eyes, "I flip houses, dude. Me and Dustin. Harrington and Henderson Project Flip. I was in Chicago for three years, lots of addresses for that city. But then Robin pointed out there were a lot of states. That I should see all 50 of 'em by renovating a house in each. She'd moved in with her then-girlfriend by this time, so she said I should go. See the States at the least. So, I did. I find it easier to just live in the house I'm renovating, so I'm not paying mortgage and then rent somewhere else in the same city."
Eddie looks like he's had a rug pulled out from under him and he lets out a laugh that's a little hysterical.
"And moving so much has allowed me to meet so many amazing people, y'know? I got friends in all the states. So, like, yeah, you did ruin my life, but like, just my life from 18 to 20. So, yeah, I'd do it all again. Did you think I've been living in perpetual misery for the last ten years?"
"Robin certainly made it easy to assume that, so yeah!"
"I think she did that on purpose. To hurt you back."
"I deserve it," Eddie says. "I didn't even try to check in on you. Well, once, but when I couldn't find you on any socials I just. Gave up."
Steve shrugs. "I didn't reach out either. And if you'll remember, I broke up with you. Screamed in your face that we were over and went home."
"I don't know when, or even if, Corroded Coffin will tour again, but I swear to you, we'll never play or release Hey Steve again. And I'll release a statement, or go on camera, or something, and address this. I can't make it right, but I can make a change starting now, to do better and be better," Eddie says this while gripping his thermos to death.
"I believe you, and I forgive you."
Eddie nods grimly, then looks from Steve to the cabin, and back to Steve. "Do you think Robin will ever forgive me?"
"I don't know. You hurt her pretty badly, too. We were all best friends in school and when we broke up, you cut off Robin, too. And then, when she started to gain her own fame- I think when she first moved to LA, she thought you'd try to reach out. But you never did."
A silence falls over them, and Steve refuses to break it. He's done enough talking. They drink their coffees 'til they're empty before Eddie speaks.
"Where does this leave us?"
Steve thinks about it before answering. "You were my best friend before you were my boyfriend. You'd been in my life longer than you've been out of it. We don't have to be anything. We can have our closure and go our separate ways, if you'd prefer. But, I think I'd like another chance at being your friend."
"I can do friend," Eddie says slowly, like he's picking his words carefully. "I can. But, full transparency, I think I still love you."
It hurts to hear, after all the pain and the time, and it's a bittersweet kind of hurt. "I'll always love you, Eds. I meant it, you know, every word of the song. But I don't know if we can, or should, try again. We were so good until we weren't."
Tears spring from Eddie's eyes when Steve says he loves him, and they don't stop falling even as he's nodding along with everything Steve says. "No, I know. I know. I just, I needed you to know. Friend is, it's so fucking great. More than I ever expected, and certainly more than I dared hope."
"Come on. Let's go inside where it's warm and chat with Dustin and Robin like civilized people. I need a break from the heavy talk."
"Yeah. Me too. Thank you, Steve. For the chance."
Steve shrugs and shoots him a crooked grin. "Yeah, well, ruin this a second time and Robin will rip you to shreds on live TV, probably."
There's more to talk about. More hurts to heal and things to discuss, Steve knows. And maybe after all the talking, they'll learn they've changed too much to even be friends. But that'll be okay, because if that's how it goes, it'll be because they talked it out instead of screaming at each other in a living room.
If they've changed too much, this time, it'll end gently.
It doesn't stop Steve from letting a little bit of hope in. That this won't end, that they can find a way to be in each other's lives again.
As friends, or more.
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I noticed something in a lot of your Dick and Tim fics. It's probably so obvious, but you always write that Tim is watching Dick. In your newest one, Tim's watching Dick, in The Return Tim's watching Dick, and you even write that Tim is always watching him. Is Tim trying to read Dick? Trying to understand? Or does he understand him by watching? What is he trying to figure out by watching Dick? What does that say about Tim? I really hope this is intentional lmao because I would be embarrassed. Maybe this is just something so obvious that I'm just getting now.
YES IT’S ON PURPOSE <333 Anon. Anon. I'm so sorry this answer took forever, but listen, this was a really delightful ask <333 I think about this a lot. I really love origin stories—I like stories that resonate through a character’s history.
And for me, a whole lot of what interests me about Dick and Tim is that theme of watching and being watched. Seeing and being seen.
"Watch me on the trapeze, Tim. I'm going to do my act...'specially for you." | "Timmy, don't look." | "I turned away... I couldn't watch. Then I heard you crying and I turned back... I'm sorry, Dick. I didn't want to hurt you by telling you all this."
Dick's watching me. Gauging my reactions. (Tim watching Dick watching Tim!) | "I'm taking off the blindfold." "No!" | "I can't see him. You can't see him. But I know Robin. And Robin's always there when you need him." | I love that kid. Too much to let him see me like this. (But Tim spots him anyway.)
Spotlights and lighthouses and cameras and photographs. Blindness and vision and masks and detective work and trust.
I'm going to try to be coherent about this but it's gonna be incoherent sdfsf BUT I'M GOING TO TRY so. Below the cut, a really long grab-bag of my rambling on vision and watchers and watching.
Tim + watching / Dick + being watched / different dynamics
Tim's origin story
Being watched goes with vulnerability/exposure
Incomplete list of moments with Dick and Tim and vision
Tim + watching
The first time we see Tim's face in LPoD: a close-up on his eyes looking for Dick, a close-up on his eyes at the moment that he sees Dick, a pullback to his face at the moment of recognition, a pullback to his face + his camera
(you could maybe even argue that Tim comes into existence at the moment that he sees Dick, like, conceptually. the act of seeing is his defining characteristic. it is the thing that makes his character happen. he is the kid who's watching.)
Tim's a very vision-centric character: he's first introduced as a camera, then as a pair of binoculars, then as a pair of eyes. His whole backstory is about watching: watching Dick's parents die, watching Dick on TV, watching Batman and Robin. I've grabbed a few panels above with Tim watching Dick but there are so many more. His major deductions are all vision-based: he sees Dick-the-acrobat and later recognizes Dick-as-Robin; he sees Bruce-in-the-past and recognizes him as Bruce-of-our-time; the climactic moment in Red Robin is about going into a dark cave with a torch so he can see what's there.
And he's a detective. He pries into secrets. He analyzes people. He's a worrywart and a fusser who always wants to understand what's going on with other people. In a lot of those panels where Tim's watching Dick, his inner monologue is busy deducing Dick's emotions and trying to psychoanalyze him. Tim's caring and watchful and intuitive... but all those qualities also make him very very intrusive.
Dick + being watched
Dick performing acrobatics for Bruce, Donna, and Tim in Detective Comics 38 (his first appearance), New Teen Titans 16, Batman 441, and Nightwing 88 (where he reflects he's glad to be back in the hot glare of the spotlight)
Dick's a detective too, of course - Tim deliberately mirrors Dick, both in-universe and out-of-universe. But also Dick's a performer who loves being watched and also wants to control how he's seen. He gets a kick out of showing off, making puns, kicking ass, taking names, and he gets a kick out of having an appreciative audience. And he's got a kind of yearning for recognition - it hurts, when Bruce won't look at him, and in fights with Bruce, Babs, Roy, he'll often bring up the past, trying to get them to acknowledge a shared history.
At the same time, he's a very private person who withdraws and hides and pushes people away when he's upset. Right before Tim shows up, Dick's just ghosted the Titans because he's having emotional turmoil and doesn't want to have it in front of them, and they're trying to respect his wishes... but that solitude doesn't last long, because then Tim tracks him down. Tim will do this again when Dick's having an emotional crisis and trying to avoid everybody in Nightwing 110.
Possible dynamics
Tim watches Dick in Robin 11, while silently analyzing Dick's anxieties about Two-Face
"The watcher and the person being watched" is a dynamic that really interests me, partly because it can be so complicated?
You can see in Dick and Tim their very first roles: enthusiastic performer and the enthusiastic audience member. Dick likes to perform and show off and entertain; Tim likes to watch; those are roles they both easily slide into and they have a lot of fun together! But also you can look at the harsher side: the crime victim and the voyeur, the amateur photographer and the guy who hates being photographed. Dick's intensely private about his vulnerabilities; Tim's intrusive and watchful and constantly trying to figure out how other people tick. Sometimes Tim's the caring friend who watches Dick closely, reads him well, understands him; sometimes he's the nosy mini-detective who pries into Dick's secrets. And that's just two different ways of describing the same thing!
One of the things that kinda fascinates me about Dick and Tim's relationship is that in a lot of ways it's built on a bunch of low-key boundary violations. A lot of their early relationship is driven by Tim's desire to know more about Dick vs. Dick's reluctance to get close to anyone from Gotham; Tim's often out-of-line, but without his pushiness, it's hard to see how they would've developed a relationship at all. Later on, their friendlier relationship is marked by Dick teasing and low-key bullying Tim; it's pretty obvious that Tim isn't actually bothered by this, but it does involve Dick ignoring whatever Tim's claiming he doesn't like ("Quit it!" "Shh").
And one of the aspects of those boundary-violations is that Tim has a habit of witnessing things that Dick would prefer that nobody see. Tim's a witness to Dick's first and most miserable tragedy; he sees the aftermath of some of Dick's fights with Bruce; he's there when Donna dies. And he's sharp and observant and analytical, and I like to imagine this as being something Dick's not entirely comfortable with.
When Dick first meets Tim, it's before he's learned to wear a mask. And Tim spends a lot of time trying to see through Dick's masks, and he's pretty good at it, and a lot of that prying comes from love and care, because one of the ways that Tim shows love and respect and admiration is by trying to absorb absolutely everything about you, like a little sponge. But there's also something unsparing and even threatening about the search for the truth of someone else. It can be comforting or threatening, to know someone's watching you.
And I love how all that complexity is wrapped up in Tim's origin story? Both the giddy childish "Watch me on the trapeze" and then the awful grim reality of what Tim actually sees as a result and then the difficult connection when Dick and Alfred finally get Tim to explain how he knows their secret identities.
Tim's origin story
Tim (recounting his origin story in LPoD): My parents held me back as the thing moved to you. I cried out to warn you. (Two panels where we see just Tim's eyes, as he watches a crying Dick. He sees Batman approach and start trying to comfort Dick.)
I think fiction sometimes presents "being understood / seen / known" as an uncomplicatedly good thing, and there's nothing wrong with that! But I like complications, and I like the way Tim's origin story frames that moment of witnessing as difficult and fraught. Tim doesn't want to tell Dick how he knows their secret identities because he thinks it'll hurt Dick to know it: I don't want to hurt you, Dick, and I'm really afraid I might. And he's not wrong. It is painful; it does hurt; it's not something Dick's happy to know.
Dick's a very private person, and there's a painful intimacy to Tim's origin story - it's not Tim's fault he was there, but at the same time, it's not like Dick chose to have the most traumatic moment of his life on stage in front of an audience of strangers, you know? It's kind of a violation. In NTT/NT/Nightwing, Dick's pretty violently hostile to photographers, and he's intensely private about trauma in general, and I like to imagine this as partly a reaction to that foundational trauma of losing the most important people in his life and also doing it publicly.
And Tim's part of that audience. And he sees the worst part, the part that Dick can't talk about. He sees the bodies and the blood. He has nightmares about it for years. He hears Dick crying and sees him holding onto his parents' bodies. Not at all the kind of first impression Dick would want to make. Not at all the kind of person he wants to be seen as. And that understanding can be painful, because it's so close to the bone, and when Tim's just a stranger, it's upsetting, because Tim knows things that Dick would never have chosen for him to know. Their few conversations about it are awkward partly because Tim's thirteen and awkward... but at the same time, it's not Tim's fault so much as the situation! There's no way for Tim to talk about what he saw that wouldn't be uncomfortable for Dick.
... And yet, and yet. Tim's also one of the last people to see the Graysons alive. He sees Dick and his parents together; he even takes a picture with them. He remembers the whole thing so vividly he'll recognize Dick's somersault years later. He sees the grief. And so I think of that connection as kind of a metaphor for witnessing. Tim sees these things and they become real; Dick can't hide from them; in the act of being seen he's caught, he's in a spotlight, all the grief made real. You can't hide, that way. And Tim's got this unforgiving memory; he won't ever forget; he won't ever stop knowing.
But then, too: Dick's seen, he's known. Even at the very beginning, when Tim doesn't know enough to understand what he knows, he knows the important things.
So that shared memory is a barrier and a bond between them. It can be a source of discomfort or a source of comfort. And that's how I think about Tim watching Dick in general - it's complicated, and sometimes Dick's glad of it, and sometimes he resents it, and also it just is, it's a fact of Tim, that Tim watches. It's notable when he's not watching, when he's turned away.
Being watched goes with vulnerability/exposure
So I'm going to talk about the fraught feeling of being watched more in a little bit, but first: I think it's fascinating that Dick likes screwing around with games where Tim can't see!
Here's Nightwing 25 - Dick's come up with the idea of trainsurfing while blindfolded:
Tim: Are you sure this is such a good idea?
Dick: Shh! Listen. Tune into the changing sounds and -
Tim: I'm not so -
Dick: JUMP!
Here's Robin 49 - clambering through a tunnel into No Man's Land:
Dick: Hard not to think about the river. All the water above us. And bugs. This tunnels' probably full of 'em. And rats. Big ones. Big blind rats with teeth as long as -
Here's Gotham Knights 9 - ambushing Tim in a sorta game of hide-and-seek:
Dick: Gotcha!
Tim: Augh!
I feel like mmm I don't want to emphasize power dynamics too much because it's easy to overplay it BUT when I think about headcanons it's interesting to me to think about how maybe when Tim can't see, Dick's more in charge / in control, and so he feels more comfortable and less vulnerable, and that's often when he's most relaxed and playing around the most?
Whereas the moments when Tim's looking at him are often a bit more fraught, as here in Lonely Place of Dying:
Tim: I'm sorry, Dick. I really am. I didn't want to hurt you by telling you all this. Dick...
Dick: It's all right, Tim. No matter how old you are, there are some things you never forget. Or get over.
(Silent panel: Tim's watching Dick as Dick turns away and stares into the window.)
Or here in Nightwing 6, when Tim wakes him up from a nightmare:
Dick (internally, imagining a kid falling): He shouts to me. He always shouts to me. I never hear what he says.
Tim: Nightwing! Wake up!
Or here in Gotham Knights 26, when Bruce is accused of murder:
(Silent panel where Tim's watching Dick.)
Tim: I'm sorry. This must be hard for you.
Dick: Me? Why?
Tim: Well, I mean, it'd be one thing if we really knew he was innocent, but as it is -
Dick: Wait, what? Stop right there. What are you saying, Tim?
Here's Tim spotting him before he can get away in Nightwing 110:
Dick (watching Tim from a distance, internally): Still, Timmy played it through nice and clean. Disarmed the perps, protected and avoided the cops. Kept any civilians from getting shot. God, I love that kid. Too much to let him see me like this.
Tim: Hey! (appearing on the roof above him, fake-cheerful) You weren't gonna leave without saying hi, were you?
Dick (looking away, very quietly): Hey, Timmy.
Tim: Look at you, man! Back on both feet! Think you're done stopping bullets with your body for a while?
Dick: Hope springs eternal.
(Silent panel with Tim watching Dick, who's turned away.)
Tim: You okay, Dick?
Dick: I'm fine.
Tim: Well, where're you staying these days?
Dick: With some people.
Of course, sometimes Tim's watchfulness is frustrating but also a comfort, as in Detective Comics 874:
Tim (watching Dick, who's looking away): Are you listening to me, Batman? I'm saying the gas the Dealer used on you was powerful stuff.
Dick: I'm fine, Red Robin. Besides...you're here now.
Tim: You're not fine. And with or without me, you shouldn't be out on patrol ye -
Dick: Sshhh. Here they come.
(Later in the comic, Dick mentally concedes that Tim's right that he hasn't really recovered from the gas, and Tim saves him from drowning when he's hallucinating. So Dick feels kind of exposed by the scrutiny, but also... he invited Tim along, so there's trust there, too - Tim's perceptiveness can be a good thing, too, when things are serious.)
Incomplete summary of moments with Dick and Tim and vision
I think I already mentioned a lot of these but here is my LIST
almost the first thing that Dick says to Tim is "watch me on the trapeze, Tim" and then Tim does and he basically never stops watching;
Tim watches Dick's parents die and watches Dick sobbing on-stage and watches him on TV and recognizes him by seeing a particular trick because he's dreamed about Dick doing the trick in his recurring nightmares about that night;
in New Titans 65 which is their very first team-up comic after Tim's origin, Dick's training pre-Robin Tim and gives him a test about watching for details and later Tim's takeaway is "I saw how [the Titans] listened to you";
there's a moment in Showcase '93 12 which is just Tim watching Dick and analyzing what's going on with him and there's another moment in Prodigal which is the same thing;
in Nightwing 6 Tim sneaks into Dick's apartment and hides in the dark and Dick spots him and tackles him; one of their most important bonding comics is Nightwing 25, where Dick insists on blindfolding him to get him to rely less on vision; when they sneak into No Man's Land they're in the dark and Tim can't see again and Dick's teasing him;
there are multiple moments when Tim can't see Dick for a bit and panics about his safety, in Nightwing 25, in No Man's Land, in Transference, in Bruce Wayne: Murderer;
Tim's there watching when Dick's wedding to Kory falls apart and he's there watching when Bruce and Dick fight and he's there watching when Donna dies and he's watching when Dick and Bruce swing together on the night before Infinite Crisis, and when Dick goes down and almost dies in Infinite Crisis we cut to Tim watching and seeing it happen and screaming;
there are multiple moments which are just silent panels of them staring at each other trying to figure out what's going on with each other or having a stand-off - in Bruce Wayne: Murderer, in Resurrection, in Red Robin;
in the aftermath of Donna's death there's a panel where Dick's watching Tim from a distance and not approaching;
in the aftermath of Blockbuster Dick spends half the comic just staring at Tim from a distance and hiding himself because "I love that kid - too much to let him see me like this," but Tim sees him anyway and chases him down and then they lie to each other and *ranting* LISTEN TO ME the whole comic is about Dick trying to AVOID being SEEN both literally but also METAPHORICALLY AND --!!!
(the only thing i'm even as halfway obsessive about for them is the heights thing because also there are a bunch of moments involving falling or Tim being anxious about heights and worried that he'll fall or Dick will fall)
In conclusion
Consider the progression in all these moments where Tim's watching an upset Dick and worrying about him!! From reaching out instinctively-but-pointlessly when he's too far away in the LPoD flashback, to almost reaching out in LPoD but hesitating, to putting a hand on Dick's back to walk him back to the Cave in Gotham Knights 10, to physically dragging him clear of the water in Batman: Black Mirror!
In conclusion I don't have a conclusion but basically YES, "watching Dick" is a core Tim characteristic as far as I'm concerned, and Tim watches Dick a lot and that can mean all kinds of things from admiration to nosy intrusiveness to worry to care to gratitude to trying-to-figure-out-what's-going-on-with-him, and sometimes Dick's resentful and sometimes he's relieved and sometimes he's playful and sometimes it's a mix of all those feelings.
And at first it's always Tim watching Dick, but later you've got Dick watching Tim too, and there's that moment where Dick's secretly watching him fight but Tim spots him in Nightwing 110 and there's a silent panel where Dick's watching him in Resurrection and at the very end of Robin there's a scene where Dick's secretly watching him fight but Tim spots him and in the very last issue of Red Robin Dick's watching the end of the confrontation with Boomerang and in Prodigal Dick's the one who notices his face is bruised and aaaaaaah
Anyway I think they're neat <3
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