2
" Watching him, his hands buried in his pockets—to keep from circling her neck she supposed—she couldn't help but marvel at the curious mix of Southern courtesy and male arrogance, the natural assumption he shouldered of being lawfully in control. " Engaging in a moral battle isn't always hazardous to one's health, you know." " Doesn't look like it's doing wonders for yours." " Saints be praised, it can actually be rewarding." Looking over his shoulder, he halted in the middle of the room. " Irish." " I beg your pardon?" " You. Irish. The green eyes, the tiny bit of red in your hair. Is Connor your real name?" " Yes, why..." she said, stammering. Bloody hell. " Of course." " Liar." She felt the slow, hot roll of color cross her cheeks. " What could that possibly have to do with anything?" " I don't know, but I have a feeling it means something. It's the first I've heard come out of that sassy mouth of yours that didn't sound like some damned speech." He tapped his head, starting to pace again. " What I wonder is, where are you in there? "
10
" He poured a splash of liquid into a second cup. “Come in and warm yerself by the fire.”
Ariana walked deeper into the room, toward the glow of the hearth. It’s heat enveloped her skin and eased away the chill with such expediency, she almost sighed.
Connor appeared beside her with a metal cup extended. “I canna sleep often myself.”
She closed her fingers around the cool surface and glanced at the dark liquid within. A sharp scent hit her nostrils.
“Whisky,” Connor said.
He was perfection in the firelight. Shadows etched his jaw while the light softened his face, his lips. The powerful lines of his chest were visible at the neck of his leine, as well as a dark peppering of small curling black hairs.
“Whisky,” Ariana said with a forced stare at the cup instead of him. “Of course. I drink this all the time.”
“Aye, I knew that about ye. When I first saw ye, I thought, ‘Now there’s a lass who can handle her whisky.’” Connor winked at her with disarming playfulness. “It’ll do ye some good. Take off the chill and settle yer thoughts.”
“Why do you assume my thoughts are unsettled?” she asked.
He took a swallow from his cup. “Because sleep comes easily to those without weight on their minds.”
Ariana took a careful sip from her own cup, the way she’d seen men at the card tables drink. The liquid burned like sin down her throat and caught in her chest.
She gritted her teeth and swallowed hard several times to keep from sputtering.
Though she’d hoped to keep her reaction discreet, the grin on Connor’s face told her he saw through her guise.
“It’s good.” Her voice came out in a croak and Connor laughed. It was a warm, rich sound and she found it terribly pleasing.
His eyes crinkled. “Now that we’ve discovered yer love of whisky, why dinna ye tell me what’s got yer thoughts heavy? "
― Madeline Martin , Highland Spy (The Mercenary Maidens, #1)
12
" The ultimate irony in this vast struggle (available to audience members who want to think about it but easily ignored by those who accept the semi-happy ending ) is the irony in many time loop (or ontological paradox) stories: John Connor has created himself (though he has not gone as far as the character in Robert Heinlein’s “All You Zombies” who is both his own father and mother). Far worse, by saving his mother’s life and ensuring the destruction of the Terminator, John Connor has created Skynet just as surely as Skynet has created John Connor by trying to kill him. Both Connor and Skynet exist in a time loop without outside causality. The Terminator’s surviving arm makes Skynet possible, but it is never invented, only found and back-engineered. Kyle Reese comes across time for Sarah Connor because of a picture and because John Connor asks him to, but neither the picture nor John Connor would exist if Reese had not already gone back in time. The simplest way to save the world is to let the Terminator kill Sarah Connor. Then (in all probability), no one would find a piece of the advanced technology, and Skynet could not be built. But, Cameron’s plot suggests, the “perils to come that would result from our hubris and blind faith in technology” may be inescapable, a time loop, a feedback loop, leading directly if not necessarily inevitably to destruction." Fighting the History Wars on the Big Screen: From the Terminator to Avatar" from The Films of James Cameron "
