Phaidra watches the turkey shenanigans from a distance, but continues her work. And is very alerted by the sudden intuition, looking around. "Hello?" She calls.

The person wants to know if she's dangerous before he shows himself - he'll leave if she wants to be left alone.

Phaidra doesn't reply, because she doesn't know how... Well, she will think peaceful thoughts if that helps, and will drop the sharp stone she was holding and trying to look harmless.

Nothing happens for a couple of minutes, and but then she realizes that she should look over there, by that tree - there's a man there, roughly human, but only roughly - the shells of his ears are large and pointed, like a wolf's, though they sit at their customary places on the side of his head, and he has a long tail covered in brown fur that matches his hair and the fur of his ears. He's tall, but a bit thin, and wearing only a skirt of mottled brown material, and holding a bag with the end of his tail and using a walking stick with a decorative swirl on top.

When he sees her looking at him he reminds her that he'll leave if she wants; she can have this place if she wants it and he means no harm.

Phaidra looks were directed. She is naked and looks like a baseline human, with the only exception that she is very tall. "I can't communicate like that," she says. Then she taps her head.

After a moment, she pauses and beacons him to come closer.

He approaches, stopping while he's still well out of arm's reach.

The crows told him a bit about her, and he's curious about her modifications and why she can't craft and worried about her wellbeing and how likely she is to come into conflict with her neighbors here - she's really scared them, apparently. He's passing through, and she might be welcome to come with him if they can establish some sort of communication, or if she doesn't want that she can at least have the stuff he brought that will let her stop upsetting everyone by setting fires for light and heat.

Phaidra looks at him and against taps her head. He might think that she is hurt there, which is not correct, but at least more likely to get him into the right conclusions.

She shows that her hands are empty and puts them behind her back, taking a tentative step closer.

He's nervous about her getting closer, but stands his ground and swings his tail around to offer her the bag.

He's not really a healer and can't do much for a head injury - not that they often can anyway, at the point where someone's walking around - but he can ask if they have one here who can look at her, and if she comes with him they can ask at other places, too.

She smiles. And instead points between the two of them. And mimes with her hands walking, one after another.

She's doing really well for not being able to communicate normally, that's good! He can show her where his house is now and maybe put together a basic shelter for her before he goes to talk to her neighbors.

"Good," smile. See, she has a way of comunication, it's just weird and involves her food-hole directing noises at you.

She would also like shelter, so there is more reason to smile.

He flinches slightly at the sound, but waits another second or two to see if she'll do anything else, and then heads off through the trees, looking back after a moment to see if she's following.

She is following.

They're joined on their walk by a crow, this one a stunningly iridescent midnight blue specimen that she hasn't seen before who swoops down to perch on her companion's shoulder, where she looks her over - she's very big, she thinks.

Her new friend's house - or rather houses - are out on the grass, within sight but well out of casual walking distance of her camp; when they come out of the trees and she can see it he apologizes for crowding her camp even so. The structures themselves are lumpy, organic shapes or flat trays with plants growing out of them, of the same unfamiliar material as the territory markers, and he points out his main house, the largest one at the size of a small cottage, with a rookery on top for his crows and hawks; the smaller cavy house, chicken house, dog house, and storage shed, and two garden trays, where the selection of plants runs much more to variety than to quantity of any one thing - it seems like he might not actually have more than two of any one type. All of the structures have legs, three pairs each; the main house is settled onto its base, allowing entry, but the others stand a few feet off the ground.

He drops his bag off on the steps of the main house and asks if she wants a shelter before he goes.

Phaidra nods, then points at the structure. "Shelter." then at herself.

He is really not sure what the noises are about but he'll take that as a yes. - while he's busy she can sketch up a floor plan for her house, actually, he'll get the stuff for that now.

The stuff for that turns out to be half a dozen thick sheets of the plasticy material, firm on one side and pliable, like clay, on the other, plus a pointy stylus to mark them with; all of these are sized for her (the stylus is proportionally thicker than the writing implements she's used to, even), and large enough that they'd be unwieldy for him. He drops these off with her and goes to the storage shed (which lowers as he approaches it) to get more of the same stuff, in big blocks this time, and he sits on the stoop of the shed to begin shaping it into large thin plates, apparently just by gently stretching it and smoothing it out with his hands.

Phaidra can't wait until she figures out how to communicate with them. She eyes the plastic material with interest and after a tentative try does as instructed. She doesn't have that much of an experience making house layouts, and she is not sure if they let her have a fire inside a kitchen, but...

Sketch, sketch, sketch.

She comes out with a simple layout, with different alcoves for different purposes, but otherwise a very open space. She figures privacy isn't going to be an issue given that most people live so far from each other. And she wants room for casting purposes. It still isn't a very large house if you account for her size, but it will serve her purposes.

He's still working when she's done; he has a stack of the plates and is joining them up to make a curved surface that's on track to be a dome a little taller than she is when it's finished.

Phaidra looks for a moment, then, getting on his field of vision but not within arm's reach. She mimes if he can take one of the plates. Maybe she can help.

Uh, sure? He was under the impression that she couldn't craft.

That gives her pause, craft sounds (well, feels in her head) like not a typical action. Maybe the local kind of magic.

She shrugs. "Learn?" That probably will just be another mysterious noise. She then just tries to look curious, which she is, she wants to figure out if she can do it. And maybe he can show her how.

....that is confusing, he is confused.

She can have two of the plates to mess with, though. If she's... forgotten how? or something? then maybe it'll come back to her if she tries it.

She tries to do what he was trying to do. He seems to think it's not something too complicated? Or at least not something that involves a specific set of instructions?

Do the plates just... bend to her will if she mimics what he is doing?

Nope, not at all. He doesn't appear to be doing anything unusual, just running his hands along the plates to curve them and his fingers along the edges to join them, though he is paying a lot of attention to the plates while while he does it. They're stubbornly firm and separate for her when she does the same.

Phaidra will try for a while, focusing harder in case it helps.