She starts trying to patch herself up while she looks for an escape route they're not covering. Blood craft's not her best, but she's gotten a lot of practice at it, lately. Enough to stop herself from bleeding out from the wound in her side (because of course it's deep) and keep herself from collapsing from exhaustion. Too slow - one of these days it'll kill her.
But not yet, she thinks, as she spots a window to an alley. Out go her magic senses - no one's alive and breathing in that alley but a cat rummaging through the garbage.
She dumps an illusion over the alley, to appear exactly as it was before she entered it. She can't get the cat right in a rush, but she doesn't need this to hold out for very long. Just long enough to get away. Song disguises the sound of the window opening and her scrambling out of it. She's conscientious enough to close it behind her. Easier than another illusion. Maybe they won't notice the blood.
Which way? Mm. One that way, two to her left, three are - oh look they found the door, she needs to hurry. She takes a right, and runs.
And comes face to face with - a snake? With a mirror for a head? What, how in the -
It's very fast. She was not expecting it. She didn't even sense it, like it appeared from nowhere, she raises her knife but she's not fast enough -
And then there is darkness.
Darkness and pain.
She'd scream, but the air's sucked out of her lungs in a whoosh. She snaps her mouth shut and flails, lashing out with something, anything - but she feels nothing around her. Nothing at all. Not even air. It's like a pressure, on all of her, but instead of pressing in it's pulling out -
Is this how she's going to die? Some Ministry snake monster thing?
Not. Likely.
She isn't the best at blood craft, but she knows enough to keep herself alive. She knows enough to snap her eyes shut and cover her nose and mouth and push magic at herself so her body doesn't shut down. It's hard - there's so much to monitor, she has no air... But she can keep herself alive. If she doesn't move and she focuses near entirely on self preservation. For - for a little while, anyway. Not forever.
Time crunch, then. Well. She was always good at those.
Her lesser crafts won't do her any good here. No way to make sound with song, no air to ignite in fire with heat, no time for aura anything, nothing to move and change with breath. Forget stone and metal, even when she's not in a crisis she's awful with both, not to mention there's nothing around for either.
But she is good at crystal, and crystal deals in light.
If she's not the brightest fucking beacon the world has ever seen, it won't be for lack of trying.
Maybe someone will find her. Or maybe she'll blind the bastards who put her here. Either way, it won't hurt to try.
air.
She sucks in a breath, coughs shallowly, and breathes again. She doesn't open her eyes. She just breathes...
(And fixes herself, she has not been done any favors by being flung out into deep space while injured. The wounds can wait, she focuses on getting oxygen to everywhere it needs to go and recovering from too little pressure and a multitude of other things...)
Mouth: open. That looks like a yes to the water.
Eventually she is out of food. That's okay.
She stretches a little, experimentally, and then she carefully, carefully stands. Again: a little wobbly. But surprisingly stable for someone who was recently suffering multiple stab wounds followed by hard vacuum. She doesn't fall, and she doesn't look like she needs assistance.
She offers the empty food receptacle to the not-elf, and inclines her head in a 'thank you' manner. Because it's obvious they don't share a language.
The not-elf takes the receptacle, carries it off to a little kitchenette very efficiently crammed full of arcane objects, puts it in an arcane object which makes soft noises, and then emerges into the main area again. She goes to the chair and starts poking the console in front of the chair. The air speaks, in the first language the not-elf tried; the not-elf replies to it as though she's having a conversation with it.
She tilts her head, and she listens with song. She won't catch the meanings, but she'll catch the words. They'll stick.
(It's a trick she used for eavesdropping on government officials, but it can be repurposed.)
"Will it help you at all if I speak outloud?" she wonders. "Pinpoint my language?"
However, after another couple of minutes, she picks up a small plastic rectangle with a window of light on one side and offers it to Inavet. She has another one; the screens show the same thing, but the not-elf says a phrase and the initial image disappears and is replaced. They have similarities (blue square, blue circle) and so do the phrases. When a few of them have gone by she gestures at Inavet and the rectangle with the blue square on it.
The not elf, satisfied that Inavet knows what she's doing, goes back and sits in her chair.
When it depicts people some of them don't have points on their ears at all. (And some of them have very peculiar foreheads.)
Apparently there are not only several kinds of people, but they can breed.
There is a vague knowledge that she is way out of her depth, and also - she has a lot of sensory information. Senses like, 'there is vacuum outside of this place' and 'the general temperature of the room' and it feels like there's a lot more but that information isn't caught.
Okay. I am an individual who has done a fancy ritual which has had the effect of giving me a ton of extra senses with which to observe the world, and the ability to affect it in certain ways. For example: glowing, healing myself, not dying in a vacuum. A number of other things, with varying degrees of ability and talent.
... We're on my ship, the Prometheus, which I use to fly from star to star and see what's around them so that an organization called Starfleet will know the general layout of the area. If you had a sufficiently detailed understanding of what the sun and constellations look like from your home I might be able to find exactly where you came from.
She has friends. Family. Work that was being done. A - she hesitates to call it a rebellion, a something like that. Group of people that disagreed with how the system worked and wanted it changed. Could they carry on without her? Well, yes, it's not like she was a leader in it. She could have been, but she was too valuable to go recruiting and risking herself and going outside where people could see her and recognize her. Because she could get other people magic. And she did get other people magic. They still have it.
And even without her - they have the basic instructions of the ritual, they have arcanists who could figure out how to make rituals the best for the person doing them, give them the best chance at getting the most magic possible.
(But she was careful, she picked her new arcanists carefully, leader though she wasn't she was a force for communication, for slow change, not a bloody awful rebellion where a lot of people die and new people get put in charge but mostly the system that feeds and clothes and houses people gets horribly broken. What will happen without her there? Will all her nightmares come to life?)
She doesn't know.
But she can't dwell. Not now, she can hash out her feelings on the subject later when she's in private, but right now - no. No dwelling. Dwelling lies possible madness.
"... Okay," she says. She motions to her head. "Telepathy."
The computer can continue learning your language - I can help it with the abstract concepts, since you're comfortable with the telepathy. And then you can get computer translation anywhere in the Federation with modern computing equipment. We've got a very good social safety net, basic necessities are effectively free, you won't be going without food or shelter or anything unless you find the Federation not to your liking and go somewhere else.
I only wish it didn't come at such an unfortunate cost to you. Isabella tells the device some more things, and then hands it back. The device attempts to teach Inavet all the words it has learned of her own language, in English. It's adaptive; it'll speed up and stop repeating things if you get them consistently right.
Food, and then there is sleep. Flop!
She stays awake for a little while, staring at the ceiling and wondering who will notice she's gone first and how they'll react. There are so many options. Will anyone hold a funeral for a woman who's still alive? Well. She wouldn't be the first one. Eventually she runs out of scenarios and falls asleep.
Much of it works how you've seen; I'll set aside some. She does this. Please don't fiddle with the console over there. Here's your language PADD. Rectangles: apparently PADDs. I'll be up in about eight hours on my own but you can barge in and wake me if you need to.
She hits a brick wall and gets a little sick of it. She goes and gets food.
And ten minutes later she finds herself sobbing into her pasta.
Well. That's. That's a thing. That's a thing that she's doing and can't seem to stop. How does she feel about this?
... Lots of emotions. Vague despair, worry, guilt, self-recrimination (She could have been faster and not been eaten) the weight of the sheer amount of being out of her depth, having nothing useful to do, nothing but learning a stupid boring foreign language so she can even begin to tackle the overwhelmingly large galaxy of strangers with strange cultures and strange spaceships and strange telepathy and strange fucking ears. Fuck.
She lets herself cry. Isabella's asleep, she's pretty quiet about it, she doesn't want to stifle her emotions (and, in fact, doesn't know if she even can) and she cries. She thinks about how she will cope and what she will do and why she is very fucking justified in crying.
Hours and hours later, she washes her face (puffy and red) in the bathroom, and goes back to learning languages. She needs it in order to do anything else, boring or no.
Eight hours after Isabella went to bed, this'll be how she'll find her, dutifully learning English.
(There might be more tears later, but she thinks she got the main emotional cocktail out of the way and dealt with.)
Crystals. She said just light, so - just light.
She gets up, puts a crystal on the other side of the ship, and walks away from it. Then she sits down (facing away from it; she's also honing her magic senses while she's at it) and begins fiddling with its fellow. She wasn't able to make an illusion of the cat under pressure. That's a weakness she'd like to work on. Crystals make this sort of thing easier, but they're not really required. But for helping her hone her reflexes, they're good. They make it easier.
Fiddle fiddle.
And then a slightly smudgy cat leaps out of the crytal on the other side of the ship, swishes its tail, and licks a paw.
The cat gets less smudged. It scratches at an itch that assumingly doesn't exist, and starts investigating the room. Occasionally it gets a little bit more smudgy, but it steadily becomes clearer and clearer. Even the shadows are correct.
For fun, Inavet adds a jingle ball, as if it dropped out of the ceiling, and takes the opportunity to practice song craft at the same time. It jingles convincingly when it hits the floor. The illusion-cat notices. The jingle ball moves as if by a wind (there isn't a breeze) and jingles a little bit more. The illusion-cat stalks its prey. Stalk stalk. (The ball doesn't move.) Stalk stalk. Butt wiggle. Will the illusion-cat pounce?
What kind of question is that, of course it will. Like so.
The bell jingles convincingly then, too. The cat even thumps as it lands on its unsuspecting jangly prey.
And if she doesn't want to give Isabella magic, she will say it's too dangerous or something. Or maybe flat out refuse.
"Nine groups of magic. Different things done in them. Is - strengths and weaknesses not chosen. Practically random. Crystal - light, illusion, glow, one of my best. Plant - is... hard to explain. Integrate, find way around, change and adapt through plant. Other best. Song - sound, memory, language. Blood - Heal self, stayed alive. Heat - temperature, fire, cold, some - lightning? Electricity? Very..." She makes an explosive hand motion. "Break things. Breath - movement, air, water. Aura, is - locations. Spots. Lock on door or no hurt when fall or alarm that rings or whatever. Stuff in a spot. Is also hard to explain. Metal - find, strengthen weaknesses, sharpen metal and remove impurities and make strong. Stone - is my worst, is building and foundation and non-change. Not - specific because not good at it. Awful."
Plant is sort of hard to explain even in a non broken language. It's - changing plants to do certain things. Except 'do certain things' can be a lot. Blood's healing and changing of the body, we gained longevity from it, but I didn't have the words to explain it. Metal deals traditionally in metal, but it's - finding weaknesses and shoring them up. Finding strengths and sharpening them. The traditional candidate is metal, because metal's good for that sort of thing. Stone's construction and moving of the earth and land - you can build houses with it, or roads, or dig out caves - as far as I know it's very slow by itself. Does that make more sense?
I wouldn't say hard, exactly. A bit time consuming, maybe. It's pretty easy to grasp the basics of your strongest craft, usually someone has those down in a week or two. It's - learning what to do to help something best or what not to do in order to prevent making anything worse, branching out to stuff that isn't your basic strengths, mixing them, inventing things that combine several crafts - the nine groups are kind of vague, actually, there are a few things that are arguably part of several.
Well. I'm technically genetically engineered through blood craft. It makes it so it's harder for me to get sick and there aren't any genetic diseases that I know of that still exist, and if I take care of myself and stay healthy I'll live to around ten thousand years. I just. Why would you give that up? Because some people tried to take over all of everything? Lots of people try to do that, let's ban people with ten toes because almost every human that has tried to take over the world has ten toes, obviously they must be responsible. That is ridiculous.
It's - I will not be less upset by the concept because it doesn't come up in my day to day life. I - would certainly balk at being asked to stand by if people were, were, I don't know, starving, and I had food to feed them, but I wasn't allowed because a rule said no. But I dislike that the concept exists in the first place. I can't pretend not to care. Or if I could, I wouldn't want to.
Okay bored now. The cat's getting wings.
It flings itself off of the back of Isabella's chair, and just as it is about to hit the ground, spreads feathering cat wings and soars. Flap flap. Flap flap.
(And now she is trying to get the air movement right from the movement of the wings. And the sound. Tricky stuff! She doesn't get it entirely right, but she'd rather keep her flexibility with almost-right than have one obvious trick that is always correct but very predictable.)
The cat goes back to flying around the room. Getting a believable flapping motion from a creature that doesn't typically have wings is tricky and fun. It does laps around the ship, swooping at random intervals, steadily un-smudging and looking more like it's an actual thing that exists and makes sense.
Then it is nice and fully un-smudged and believable, and Inavet sends it swooping after the toy. Jingling, anatomy, no smudging, air movement from the flaps, a coherent illusion overall... Her? A workaholic? Never. It's not easy, but she's not practicing to do easy things, she's practicing to get better.
"I described the job I do. It involves usually being very far away from anyone, in uninhabited systems, seeing what's there. It would really depend on the kind of job. I'd want to know how it worked. I don't immediately know what I'd do with illusion cats. But something with energy, for example, could help power all kinds of things people need."
"In a couple of days we'll dock at a station. It's mostly Ferengi-run and I can't recommend it as a long-term place to stay because you don't have any money, but if you don't want to stay on my ship with me - which you are welcome to do - you could get a shuttle to Federation space."
Eventually they dock at the station, where Isabella transacts with short large-eared lumpy-headed bald men in stupid clothes who leer at her. They do not stay long, just enough to refuel and buy some (less stupid) clothes for Inavet. ("Not too many here, they overcharge and we can get some things for outright free on a Federation station.")
"I wasn't planning to claim to be a Vulcan," she agrees. "I just didn't want to get into a 'no actually I am another species with differently pointed ears see they don't curve forward they go back isn't that novel.'" She peers at Isabella. "... Do you want to talk about why there are fewer Vulcans, or should I skip it?"
"... My lifespan's measured in the thousands. I'm actually over a thousand already, and I'm considered rather young. I'm not fantastic at blood craft, but I've been getting a lot of practice with it lately. I know I could likely give a human an extra century or two, maybe. If I worked at it."
"Yep. Thus why I couldn't comprehend why you wouldn't play with genetic engineering. That's what I was talking about. I am not planning to keep a jealous hold on magic - it is really very useful for - helping people. Living longer, preventing sicknesses, dealing with disasters, so on. I just want to introduce it carefully because uh. I have also seen how it can be abused."
"Large-scale sterilization of our entire species, really thorough media censorship, magically crippling arcanists from the start despite how it's psychologically upsetting and irreversible, tracking every non-magical citizen at just about all times, something involved with keeping actual immortality to the elite... Plus all of the horrible ways one can kill someone. It can definitely be abused."
"When I'm doing survey runs, sometimes I find inhabited planets. If they're at a high enough technology level that they have data nets I can analyze from space, I find a physicist on their planet who shows signs of liking to plagiarize, and then I transport down and leave plans for warp drive on their desk, and then I fly away and wait for their warp signature to pop up and let them into the Federation if they want to join."
"Twenty-one billion, seven hundred and six million, one hundred fifty-nine thousand, six hundred sixty eight, plus or minus two point eight billion."
"That," says Isabella, "is an estimate of how many lives I've saved, based on the level of improvement represented by Federation standard of living or where applicable the effect of interplanetary commerce, how long they seemed likely to take to invent warp drive on their own, and how many times I've done this. I'm going to get arrested at some point, but they've already got warp."
"The standard ritual procedure - please don't fling this to the heavens - is to get a wooden bowl, draw abstract drawings on it in graphite that vaguely attempt to represent the one who is doing the ritual. Then to put a quartz crystal into the center of the bowl, fill the bowl with distilled water, prod yourself with a sentimentally significant sharp object, and bleed into the water. Then you put your dominant hand onto the quartz, put about a gram of copper onto that hand, and then your other hand on top of that. Then think about who you are as a person and what makes you you. You - might need the bowl-drawing to be in something other than graphite. I'll look for something that works just as well."
"It definitely needs to matter to you. I would take a knife that was involved in something unpleasant that happened in your life over something you found and thought was pretty. I actually recommend trying to get things that all matter to you in some way, whether it's abstract or more direct. The ritual is very much about directing the magic to you. The more you can do that, the better, I think."
"...We could go back to Earth. I don't have a lot of sentimentality attached to my possessions - I still have a cloakpin that I was wearing the day I found out about Vulcan, that my father gave me? That could be my sharp object - but my mother probably owns some more of the relevant things and she's important to me, if that counts?"
"The graphite would likely work to get you magic. But it wouldn't - give you the best chance to get the most amount of magic possible, I think. It's - I think it has something to do with you being Vulcan, but there's more something of what's associated with heat craft in you than an ordinary person. Just sort of floating about. Graphite in particular is useful because it's conductive, among other things - I will need to replace it with something that isn't as conductive, to balance out the whatever is in you, and replicate the other things graphite's contributing to the ritual."