Monday
Shoshannah, too, is there. Dressed in a simple, white, just shorter than her knees dress with an aqua ribbon belt for accent, she's about as opposite of Sera as she can possibly be. She's also not allowed back into his room to see all the proceedings but when Sera arrives in that dress, looking like that (the devil you know always appears to be safer than the one you don't, doesn't it?), it's almost amusing to imagine the thoughts behind people's expressions. And Shoshannah, who wears her heart on her sleeve far more than most people know or care to read even as she's so intent on guarding the softest parts of herself, gives a relieved little sob of breath and disappears into the bathroom (or somewhere relatively private) for awhile when she finds out that Padre is awake - really awake. When she returns, her face looks well scrubbed and her eyelashes are wet.
It's only when that's done that she makes her way back to his room, and stands as out of the way as she can while still being near him. She doesn't say much, certainly doesn't make a scene, but she's such a presence that of course everyone's uncomfortable - up until visiting hours are over, anyway, or until she has to make room for the flow of visitors.
Tuesday
Again, Shoshannah's there and maybe by now Padre does know more about how much time she spent sitting in the uncomfortable chairs by the elevators, though she doesn't mention it. When she left Sera's place, she'd told the Cultist that she wouldn't be back, that she was remiss in her duties at the Chantry and now that Padre's awake and at least sort of functioning there's even less point in her haunting the place. It's lucky, really, that Rosa happens to be driving Pan back to the Chantry; it means Shoshannah can ask her, all polite and prickly-distant, if she can hitch a ride back too. This is quicker and easier than hitchhiking, and cheaper than calling for a cab, and less of a nuisance (for the other people involved) than calling Sid or someone.
The conversation? That's none of her business. But you can bet she finds a way to have a hand on Padre - this girl who so rarely allows touch - the whole way back.
Shoshannah, too, is there. Dressed in a simple, white, just shorter than her knees dress with an aqua ribbon belt for accent, she's about as opposite of Sera as she can possibly be. She's also not allowed back into his room to see all the proceedings but when Sera arrives in that dress, looking like that (the devil you know always appears to be safer than the one you don't, doesn't it?), it's almost amusing to imagine the thoughts behind people's expressions. And Shoshannah, who wears her heart on her sleeve far more than most people know or care to read even as she's so intent on guarding the softest parts of herself, gives a relieved little sob of breath and disappears into the bathroom (or somewhere relatively private) for awhile when she finds out that Padre is awake - really awake. When she returns, her face looks well scrubbed and her eyelashes are wet.
It's only when that's done that she makes her way back to his room, and stands as out of the way as she can while still being near him. She doesn't say much, certainly doesn't make a scene, but she's such a presence that of course everyone's uncomfortable - up until visiting hours are over, anyway, or until she has to make room for the flow of visitors.
Tuesday
Again, Shoshannah's there and maybe by now Padre does know more about how much time she spent sitting in the uncomfortable chairs by the elevators, though she doesn't mention it. When she left Sera's place, she'd told the Cultist that she wouldn't be back, that she was remiss in her duties at the Chantry and now that Padre's awake and at least sort of functioning there's even less point in her haunting the place. It's lucky, really, that Rosa happens to be driving Pan back to the Chantry; it means Shoshannah can ask her, all polite and prickly-distant, if she can hitch a ride back too. This is quicker and easier than hitchhiking, and cheaper than calling for a cab, and less of a nuisance (for the other people involved) than calling Sid or someone.
The conversation? That's none of her business. But you can bet she finds a way to have a hand on Padre - this girl who so rarely allows touch - the whole way back.