(no subject)
After her da' had died--
(murdered he were murdered like Meg were murdered)
--Susan had found refuge in the stables and in riding, caring for Pylon and Felicia. Familiar ground, familiar tasks, and necessary ones as well-- and it had been a comfort, say true, for she'd felt close to him there and had eventually found some measure of peace.
(no peace here no peace to speak of only more killing and more sorrow)
It's not the same now, here in the faint light of false dawn, and Susan's steps as she goes toward the Milliways stables are slow and heavy. Meg had never been fond of horses. Anthy had--
(not dead Anthy's not dead you're like the roses aren't you?)
--and they'd gone riding together, just the afternoon before.
Before everything.
(the black rose - did'ee have to? no - I was angry - that's all)
She moves through her work silently, almost mechanically. Occasionally, there's a reassuring murmur to an unsettled mount as she goes through the morning's routine, turning horse after horse out to pasture, but it's the only sound she makes.
She can barely look at Boukephalos, much less Kiseki. She has no desire to ride.
When everything is done, Susan leaves the stable and starts back toward the bar-- but she comes to a halt in front of the greenhouse.
(you got Anthy to use a weapon? I've been trying to get her to learn one for ages)
Susan closes her eyes. It's quiet. There's nothing left here. The roses are gone; Anthy's in the cells; Meg's dancing is done.
(commala come come - left her baby lonely)
There's nothing inside for her that she needs to see. She knows what it would look like, anyway.
(blood in the dust in the dirt on the road)
Susan turns, stumbling a little, and walks aimlessly away from the greenhouse, from the stables, from the bar itself. Eventually, she disappears down one of the trails into the forest.
(no peace but the clearing)
(murdered he were murdered like Meg were murdered)
--Susan had found refuge in the stables and in riding, caring for Pylon and Felicia. Familiar ground, familiar tasks, and necessary ones as well-- and it had been a comfort, say true, for she'd felt close to him there and had eventually found some measure of peace.
(no peace here no peace to speak of only more killing and more sorrow)
It's not the same now, here in the faint light of false dawn, and Susan's steps as she goes toward the Milliways stables are slow and heavy. Meg had never been fond of horses. Anthy had--
(not dead Anthy's not dead you're like the roses aren't you?)
--and they'd gone riding together, just the afternoon before.
Before everything.
(the black rose - did'ee have to? no - I was angry - that's all)
She moves through her work silently, almost mechanically. Occasionally, there's a reassuring murmur to an unsettled mount as she goes through the morning's routine, turning horse after horse out to pasture, but it's the only sound she makes.
She can barely look at Boukephalos, much less Kiseki. She has no desire to ride.
When everything is done, Susan leaves the stable and starts back toward the bar-- but she comes to a halt in front of the greenhouse.
(you got Anthy to use a weapon? I've been trying to get her to learn one for ages)
Susan closes her eyes. It's quiet. There's nothing left here. The roses are gone; Anthy's in the cells; Meg's dancing is done.
(commala come come - left her baby lonely)
There's nothing inside for her that she needs to see. She knows what it would look like, anyway.
(blood in the dust in the dirt on the road)
Susan turns, stumbling a little, and walks aimlessly away from the greenhouse, from the stables, from the bar itself. Eventually, she disappears down one of the trails into the forest.
(no peace but the clearing)