[
There's nothing terribly mind-blowing about Horatio's farm. It's decently scaled for a single person to tend to on his own, particularly now that his sprinkler system is up and running properly. The rows of crops are neat and orderly, the ground is kept fairly clear, and the chicken coop was clearly built by an amateur at carpentry.
But fairly early this morning, jPad feeds will be treated to a video-feed of the northern portion of his plot.
The camera work is a little shaky, as if someone (who is definitely Horatio) were moving erratically from a combination of excited nerves and general teenage hormones. There's a sweep of the budding flowers around the newly (and fairly more expertly) crafted beehive boxes, all of which seem to be humming along happily enough--and then, with a dizzying turn, there are the saplings. Two looks fairly sturdy and advanced, like the others on sale from Pierre's, but the one farthest to the right looks a bit scrappier. It's one of Martel's apple cuttings, and it looks fairly happy in its sunny new home.
Another unnecessarily fast spin, and the camera turns back to Horatio, who genuinely can't contain his smile. He opens his mouth to say something, but the smile seems to have choked out his capacity for words for the moment.
Later, of course, Horatio is right back to normal. Once he's left his farm and started making his way through town, the impassive expression has returned to his features--perhaps even with the faintest hint of redness at the tips of his ears. It hadn't really been bragging, but feeling proud of something he's worked on is... new. Unusual. Not bad, but a bit embarrassing. Certainly something he's not going to repeat again. In fact, if possible, he's going to be melting into the shadows again as much as possible.
Which is slightly less possible than it used to be, because now there's a cheerful little shadow following him around. The dog doesn't seem inclined to get terribly close, but the herding patterns are clear--gently padding closer to nudge Horatio back toward the center of the road, cutting off the odd obvious attempt to take routes that avoid passing just beside other people; generally edging the boy toward the casualness of passing by people while he totes his books back to the library.
Of course, even walking past others is painfully embarrassing, so there's a constant stream of:] --sorry, sorry, sorry-- [
every step he takes along the way.
Until he actually walks square into anyone. Then it's more of a:] --shit. Sorry.