synanthrope | (no subject)

[The camera is expertly handled this time, and it shows the Garage. Saya is currently dressed to nines in expensive couture, as usual, despite the fact that she's working on cars. She has her head under the hood of a car, her hands inside doing something unseen. The camera pans away from her for a moment.]

The Garage is an immaculate place; despite being home to constant repairs, everything is in it's place, much like the owner, who works every day no matter the condition or the holiday.

She attributes this to the work ethic instilled by-

[The narration is cut off by a sudden loud thump, and the camera pans back to Saya just in time to see her, holding the back of her head, stumble back a couple of steps, and then there's a snap as she falls at precisely the same moment, like a marionette with cut strings, not fainting as much as simply collapsing, her limbs tucked under her in odd ways]

Sy-

[Her voice stops and she looks, confused, at the heel of her shoe, which is no longer attached to the rest. The heel snapped off.]

That's never happened before.

[She looks up at the camera for a moment, and then it shuts off.]

[ooc: Action for Garage employees, audio for everyone else. She'll be going to the hospital eventually! Italics are the documentary narration.]

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[There's a whirrr-click as the camera continues to follow him. The next obvious thing is the final door, the one that leads into another room.]

[ He almost takes the mechanical response as a retort in conversation. Nigel's attention continues onto the next door, amused and bemused in turns, fascinated and enraptured and endlessly curious. He smiles again at the camera, asking it if it were Saya herself. ] More surprises. Though I'm not sure how easily the ones you've already left me can be matched.

[That door just leads to her bedroom, where it's not a door, but rather a panel in the wall that opens from the inside and from a catch behind her bed]

[ Despite living in the same house, Nigel has never been in Saya's bedroom before -- a stark contrast to Rosella, whose bedroom he has been several times in the past (both in his retained memory and that which has been lost). He imagines her slipping through her secret panel at night, a thought which pleases him. Then he imagines the men she must bring here with her, which does quite the opposite.

He touches the edge of her bed with his hand. There is a distinct lack of smell to the sheets; not even that sort of musty scent that comes with sleep. ]

[Her bedroom is immaculate; no dust, clean and neat, tidy. There is a walk in closet full of couture, shoes, dresses, bags, skirts and shirts and trousers. Nothing smells like anything, except for a bottle of perfume on the nightstand. There is a box of condoms on the same nightstand.

Otherwise it might be a room out of a magazine, it's so immaculately arranged.]

[ His reaction is completely juvenile but that box of condoms makes Nigel very angry to see. It's rare for him to feel an emotion so pointedly, but he's able to recognize it as jealousy. He'd felt the same way, sitting in that church a pew behind Alex Forbes; it was something in the way he'd looked at Susan that convinced Nigel that yes she'd do nicely with her insides untidied for everyone to see.

Nigel snatches the box from its perch with intentions of burning the damned thing later. He wouldn't put it past her to have plenty more, stored elsewhere, but the camera in her trophy room had seen her; there'd be no question as to who'd taken the box and she's more than capable of putting two and two together.

Besides, Nigel suspects she enjoys his jealousy. Perhaps he should send her one of her lover's heads. It puts a damper on another otherwise pleasantly surprising afternoon.

Now. Find to Saya. ]

[She'll be waiting]

[ It takes him a while to realize that Saya is not at the garage, nor are her employees; when he returns home again and she is not at the warehouse either, he makes it a point to contact Rosella in the hopes that she knows better. Eventually, this earns him directions to the hospital as well as some help in trying to pick out a new pair of shoes to bring Saya.

Both Nigel and Saya's shoes (black, heeled, made by a man named 'Jimmy' apparently) eventually find themselves at the hospital. It's not hard too find the room (private, which makes Nigel wonder how someone without the faintest touch of bedside manner can manage to earn herself one). He knocks once, politely, before opening the door -- not bothering to wait for a response. ]

[Saya managed to get something to eat (a bag of A+, courtesy of Doctor Cooper) and now is much better, but still under monitoring. When she looks up, she almost looks entirely herself, her eyes only taking a moment to focus.]

Hello, Nigel. Close the door.

[ Nigel does as he's told, the door shutting behind him with a quiet latching sound. When he comes to stand at the foot of the bed, he goes to place the shoes that he's brought her beside her feet on top of the sheets, but doesn't put them down fully. Just holds them expectantly an inch or so from the bed, looking at Saya intently to gauge her approval or disapproval.

He knew how endlessly tidy she could be. ]

Hello, Saya, [ he says. ]

[She watches him move and looks at the shoes]

Adequate. Put the down on the ground and come sit next to me.

[ Normally, he would relish in her approval but, at the moment he's too distracted staring at her face, trying to find the correlations (if any even exist) between what he sees now and what he'd seen on the fifth floor of the warehouse. The shoes find themselves on the floor, neatly arranged beneath where her chart hangs. There are a few chairs designated specifically for visitors and Nigel pulls one to the very edge of the bed, his eyes still searching, looking for something. ]

You've had an accident.

I was surprised.

[Her clothes are also neatly folded on a chair, and she is wearing a horrible hospital gown. Against her will.]

I hit my head on the inside of the hood of a car.

(no subject)

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