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dlartistanon · 5 months

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Shining and Nightingale: Connection, Plot Beats, and How Their Story Makes (Even) More Sense If You Read It As Romantic

Introduction

Belonging to the Followers faction, Shining and Nightingale were among the first 6* operators introduced at launch. With damage mitigation as their niche, Shining is a single-target medic who specializes in reducing incoming physical damage, while Nightingale is an AoE medic whose specialty lies in reducing incoming Arts damage. This post will delve into everything we know about them and how it's so gay, oh my god

Design Analysis

Upon first glance, you notice how they compare and contrast each other visually: Shining is dressed mostly in black, Nightingale in white. Shining has long, thin white horns that gently jut outwards, while Nightingale has thick, black horns that fold inwards. Shining keeps her hood on by default, giving her a mysterious and secretive appearance. She has dark brown eyes, Liz has light blue ones. Shining’s outfit is tattered and ragged, really giving off the vibe of a wanderer (a “roaming doctor”, as she puts it), in stark contrast to Nightingale’s clean and put-together attire. If you squint, Shining almost looks like a harbinger of death, whereas Nightingale is angelic. Both of them wear the insignia of the Followers, a Terran version of the Caduceus. Shining wears it on a necklace (and is the actual leader), while Nightingale has it etched onto her clothes. One of the black straps on Nightingale’s outfit also reads “The path to light is dark”.

The predominant colors in both their respective skins are the complementary blue and orange. Just as black and white are opposed, so is the contrast between blue and orange. Within Shining's Silent Night, there are flickers of red-orange accents in the form of crystals, while in Nightingale's Elegy, there is the vibrant blue of her bluebird and its wings/feather. Despite Shining’s skin being a summer/beach outfit, the overall atmosphere is foreboding, given the moonlit background, presence of crows/ravens, and color choices. The backdrop in Nightingale’s is very characteristic of Gothic settings.

The strongest theme tying both their designs (and stories) together is The Gothic, an atmosphere and aesthetic best exemplified and symbolized by moody, somber colors (often black) and the gnarled, twisted branches of dead trees found in both their designs, as well as pertinent cast. (We will discuss more on their narrative ties to The Gothic)

Nightingale is featured (alongside Myrrh) in the song “Spring’s Pulse”, while Shining’s song is called “Winter Absolution”. Spring and Winter are opposing seasons, different times in which life either flourishes or hibernates. Green and red (as well as blue and red) are contrasting colors, highlighting life and death. As well as white and black, often symbolic of purity and sin.

Additionally, one of the Latin verses in Shining's song translates to:

"Sing, my tongue, redemption. Of my flesh, the mystery sing. Of the blood, all price exceeding. Shed by my immortal being. Destined for the world's redemption. From a noble womb to spring."

Profiles/Voice Lines

For the longest time, the most we could gather from their past was that Nightingale was a victim, a prisoner, forced to heal others while captive and that Shining had rescued her before they came to Rhodes Island. She has a host of ailments that mere Oripathy can't be the sole cause for, including amnesia. Through other clues, we eventually learn that Shining had a connection to someone called "Confessarius" ("Confessarii" when referring to a group), something she is noticeably evasive and uncomfortable about.

Later, the mystery slowly began to unravel as many theorized that Shining herself was involved with Nightingale's imprisonment, evidenced by Liz drawing the similarities between Shining and her captors. A shared past dripping with intrigue.

It was these seeds that provided a tantalizing story of atonement, of redemption, from someone who had committed a terrible transgression against another, complacent in her pain and suffering, whom she eventually grew to care about--so much so that Shining decided to sever all ties to her former compatriots, slaughtering many and freeing Nightingale, running away together. Shining, disgusted with her actions, spending the rest of her life atoning for her sins, of which she feels she can never be forgiven for.

The juxtaposition of Shining, unyielding with her sword, covered in the blood of her once-fellow Confessarii, and her being exceedingly gentle with Nightingale as she leads her to someplace safe, away from that room, her captors, that tower, where they (she) can’t hurt Liz ever again. The fanon that Shining was complicit in what made Nightingale the way she is, and that she is currently atoning for those sins, was largely embraced by fans.

Nightingale’s Operator Record #1 - A Song and a Blue Feather

The Op Rec is a good showcase of the Followers dynamic (with Liz as the Lady and her two knights), but it also serves to show more of Liz's personality. We only get a very baseline interpretation of who she is as a person via her official file, but seeing her interact with Nearl and Shining gives us a clearer picture of just how strong-willed she is. She goes against Shining's warnings in order to soothe the pain of an Infected child, particularly because his father was inadvertently exacerbating his condition through what Liz calls "a cage of love" (foreshadowing?).

Throughout, we learn more about Liz's Arts, specifically that they give her empathic qualities and come with the drawback of shortening her lifespan every time she heals. The game-breaking ability to reverse Oripathy symptoms comes with equivalent exchange. Liz takes on the pain of others in order to make them feel better.

Near the end of the record, Liz asks if Shining is mad and to not blame Nearl for helping her. Shining's original call to avoid the town was born out of being concerned with Liz's health, but she admits that she should've respected Liz's decision. This is a stance that we then see get repeated in their future appearances in both side stories and the main plot--Shining prioritizing giving Liz agency, when she previously had none. Even when it results in Liz's condition worsening, something that Shining struggles with accepting at the same time, communicated through her asking Liz if her feeling more pain was necessary.

Nightingale’s Module #1 - Closed Hope

The module basically states outright that Nightingale views herself as a burden for having to rely on Shining and Nearl to help her navigate through life. This is another example of Liz's strong-willed personality peeking through.

"But for me, results speak loudest. Because I endured a little more pain, others can be born anew. This is very good. But… if I could be like ordinary people, without this physical pain, that spark of hope in my heart would surely shine a little bit brighter. Unfortunately, as I am now, I can only rely on others to survive. Like a light crystal in a lantern. Even if the lantern door is open, even if the light can bring warmth to others, the crystal itself is still fixed inside. It is fixed there, because it has no ability to move on its own. 'Nightingale, Nightingale––' I hope that one day, I will also be able to spread my wings and fly… just like the bird next to me. 'Nightingale, wake up already––' Until then, I must impose upon them yet more to take care of me.

...

'What's the matter, Shining?'"

In her Op Rec, she had even told Shining that if her legs had cooperated with her, she would not have asked Nearl for help, and that she would've gone out to heal that boy on her own. It's letting us know that she longs to be independent, and that she can't idly sit by as a passive observer when she has the ability to help others. Liz won't even let her own disabilities stop her from doing what she wants.

It's not a coincidence how Shining's presence in her module is represented by the analogy Liz uses to describe her predicament. Shining rescued her = the cage door is open. However, the crystal itself can't move = Liz's debilitating condition. Shining played her part in putting Liz in the cage to begin with. Shining is not only her savior, caretaker, and companion, there's a darker undercurrent as well.

Near Light

In Maria Nearl, Nightingale and Shining get a brief mention and cameo around the time Nearl crashes into the Major stadium. A connection can be made with Liz's Op Rec in which we evidently see that she and Nearl have a more physical (and arguably openly affectionate) dynamic compared to Liz and Shining. Before Nearl leaves to help her sister, we a get a brief look into her and Liz's parting conversation, in which Nearl assures Liz that she'll be okay and that Liz still has Shining with her.

In Near Light, where they get more screentime, we have the iconic Nearl and Nightingale slow dance underneath the streetlights. In the CG itself, Shining can be seen hanging back, sporting a smile. She calls Liz beautiful unprompted, which results in Liz getting a little bit flustered, already so from dancing with Nearl.

Beyond these instances fleshing out the NearLiz leg of the triangle, it's also a purposeful depiction of Shining intentionally distancing herself from Liz, presumably due to her guilt for her past actions. And how that can be extrapolated into Shining feeling as though she is unworthy to partake in that same kind of intimacy. This self-loathing mentality is once more reflected in Nearl the Radiant Knight's second Module--here's a rough translation:

"I suddenly felt a little regretful - after all, I have always hated my bloodline. I have never tasted the beauty of home and the meaning of family. She deserved to have it all, deserved to be noticed and blessed and I deserved not to be a part of it."

However, at the end of Near Light, we get the scene where Shining makes a decision to go back to Londinium with Nightingale, preparing us for their subplot with Confessarius. This exchange hangs over them like a cloud, as well as further cementing Shining's firm resolve to always remain by Liz's side, no matter her own misgivings about everything else. Even if the rest of the world is muddled in her eyes, the only thing that stays clear and in view, is Nightingale. Nothing else matters more.

Chapter 10-18

The depth of Shining’s feelings for Nightingale is truly something to take note of. "My place is always at your side" is practically a textbook subtextual/indirect confession. "I will always be at your side... for as long as you’ll have me." Because we must know that Liz has a choice. She will not impose her own wants onto Liz. Should the day arrive where Liz no longer wants her, Shining will honor it, as much as it hurts.

The way Shining navigates and conducts her feelings towards Liz in this manner is very reminiscent of the medieval concept of courtly love, which is essentially a kind of romantic love without ever imagining it to go any further. The lack of consummation is not only expected, but ideal. That the love existing in and of itself is satisfying.

The scenes where we see Shining holding back help supplement this reading. It also plays well into how the Followers are basically the "knight in shining armor" idea codified into three individuals with corresponding dynamics. For bonus points, courtly love has ties to spirituality, which coincides with another aspect of Shiningale's story with identity, fate, and their conflict with Confessarius.

The fact that Shining 's most immediate plans for the future all have to do with Nightingale is only the tip of her unending devotion. "I’ll stay with you, and go wherever you want to go, as long as you want me". And for Liz to quickly ask if Shining will come with her wherever she wants to go suggests that the love is reciprocated.

Chapter 11-10

Through a series of revelations, we discover that the current head of the Confessarii is Shining's father, who is possessing the body of her younger brother. And that Nightingale was an experimental subject whose physical body is a construct, making her the equivalent of an artificial human/homunculus.

The whole scene we see just how both Confessarius and Salus view Shining, Nightingale, and their relationship. As randmsapphic puts it, the method in which they talk about Liz as an object with a purpose and that Shining's attachment to her is nothing short of a phase speaks volumes as to how dismissive and strangely self-assured that Shining will come to her senses and do the right/rational thing and bring Liz back to help her. They entertain the notion of saving Liz by way of pushing Shining to return to them, because they are the only ones who can save her. Instead of immediately resorting to threats, they rely on manipulation, pulling the "family" card, preying on and weaponizing Shining's guilt and desire to help Liz. It's not subtle--this dynamic could very easily be seen as the reactions homophobic relatives would have.

In particular, Confessarius's fixation on bloodline purity is insanely creepy and not only comes off as very homophobic, but ableist as well. Him suggesting they can build Liz a new body is coercion to get Shining to obey him (which also implies that he thinks Shining's attraction to Liz is purely physical). Salus emotionally abusing Shining by saying that all of Liz's pain is Shining's fault. Attempting to shame Shining by claiming she abandoned her family for a stranger. Does it not have the vibes of homophobia saying that Shiningale's love/relationship isn't real and will never work?

Chapter 12-10

The way Shining utterly ties her sense of self-worth to Nightingale, literally describing herself as Liz’s sin… she will not refer to Liz with possessive pronouns, but will do it to herself for her. The longing, the guilt, the resolve, the codependency… is incredibly yuri. Back in Chapter 10, Shining has an exchange with the Nachzehrer King where she says the moment she was born, she had carried sin. After the dinner in Chapter 11, she tells a Confessarius soldier (before cutting him down) that she hates herself most of all.

Of all the ways to describe her relationship with Liz, Shining decides on "I am her sin". There is poetry in how she refrains from using any kind of possessive language about Liz. Shining belongs to Liz, but Liz belongs to no one. "I am hers, and she is everything to me". It goes back to how she somewhat keeps her distance despite the overwhelming devotion. "I cannot touch her with these sinful hands".

Shining truly exemplifies devotion. Whoever was responsible for writing Shining’s dialogue is pulling out all sorts of stops to have her express her love for Liz in every way without outright making her say the words "I love Liz".

Chapter 13-9 (unfortunately tumblr has an image limit so i can't cap the entire subchapter; you really should read it yourselves for that delicious Shiningale goodness)

Kal'tsit: The way you look at Nightingale isn't just with compassion. You're not just her doctor—she's healing your fears too. Her body has its issues, but she's a member of the 'Followers', as well as your companion, and not a delicate flower that needs your protection.

Nightingale: I'm fine, Shining. You don't have to look after me so meticulously.

More examples of Liz's strong character! A dynamic becomes even more interesting when the one you thought was less-dependent turns out to desperately need the other. By this point, you should know that Shining places Nightingale incredibly high up her list of priorities. The narrative makes it no secret. They continue to hammer home that, despite being her caretaker, just how much Shining is dependent on Liz. Liz has already internally talked about how she hates having to rely on Shining and Nearl because of her ailments. In her other appearances, she makes it even more apparent with her dialogue. While Shining mends Liz’s aching body, Liz is the one who soothes Shining’s hurting heart.

Confessarius: Poor 'Liz'. She think it's all her fault, because of the momentary kindness you showed her.

When you remember that Liz's Arts make her empathic to pain, it takes on another layer of meaning when she wants to take away Shining's suffering. It's reasonable to assume that Liz also had an attachment to Shining, even if you see it as such because Shining "brought her to life". But the vibe you get from her dialogue shows a strong affection and compassion for Shining. Arguably instinctive, considering the "nature" of who Liz originally was. A wandering spirit, a memory, a soul that was drawn to Shining because she felt her crushing pain and wanted to help her. An intangible presence given life by an achingly lonely and hurt individual.

Another post by randmsapphic suggests that Liz's "childhood memories" of her and Shining were in fact fabrications that Shining had imposed onto Liz, in some desperate attempt to have a connection with another person, which this scene confirms. Shining was so happy with Liz's creation that she quickly became attached to her. Is this a sort of twisted love/affection that was born out of Shining's self-loathing? Or her being born into a very dark and messed up lineage in which her fate is a doomed one, and so she latched onto Liz as a means of escape and a way to feel close to someone? It may have started off as such, but by the time we reach this point, the love grew to be genuine.

Remember in Liz's Op Rec, where she described the father hurting his son by keeping him in a cage of love?

The bluebird losing its strength the farther it travels away from home is a metaphor and reflection for how the Confessarii treat Liz, their experiment. This is the basis for her captivity. Combined with Shining's sudden shift into a cold demeanor when she had previously been warm to Liz, this only served to psychologically and emotionally damage Liz, as well as compound Shining's guilt for having continued to follow the wishes of her family.

At some point, prior to deserting, Shining had wiped Liz's memories, perhaps out of said guilty conscious, or a means to a fresh start, or even her own way to stop Liz from feeling any pain associated with those memories, but she was still afraid of what would happen should Liz recover them, which had been happening little by little. Shining had resigned herself to believing that Liz would hate her, would want nothing to do with her, if she ever found out the truth. She had to wrestle with the very real possibility that attempting to save Liz could mean losing her, or being separated from her. Shining never once saw Nightingale as a burden; she was only ever happy that Liz exists.

Credit to randmsapphic again: Every time Shining draws her sword, it's a viscerally unpleasant reminder of her eventual destiny. It's both the only way to truly free Liz, and is the bind that keeps her shackled to a doomed fate. When Confessarius offers her the sadistic choice between killing him (thus giving up her soul) or return Liz to captivity... what should she do? There is no choice here.

The way Confessarius keeps (creepily) phrasing it as Shining “giving birth” really does paint him to be a disgustingly vile patriarchal figure set on destroying not only Shining’s autonomy, but her life and relationship with Liz. How a woman is treated as an object, her worth limited to only serving as a breeding ground for the next generation. This read continues to make even more sense because remember the Confessarii dinner scene? The way they talked like they expect Shining to come home after having had her fun with Nightingale reeks of how society views lesbian relationships as not real/practice for men/just a phase. The proverbial Class S? Shiningale really is just Arknights-flavored Class S Yuri. If a Shining Alter has her pick up her sword again, it could very well symbolize her reclaiming her bodily autonomy and fighting for her love, and for the chance to have a life outside of what the patriarch(y) wants for her.

The more I read about the Shiningale in Chapter 13, the more I’m thinking that this can’t be anything else but yuri. Even the role Confessarius is playing as a villain/obstacle they have to overcome. A man getting between them by manipulating their feelings for nefarious purposes?

Liz telling Shining that she prefers her current name, how it encapsulates so much of who Shining is as a person; she's not just a means to an end for the Confessarii, she's more than what they've instilled in her since her birth. The Followers are all light-themed, and Shining is no exception. She broke Liz out of her cage and showed her the world. And Liz is the light of Shining's life, as was mentioned all the way back to her voiceline.

Liz telling Shining that she's always loved the name that she gave her... that she holds dear any and every part of Shining that's a part of her. Her gently chastising Shining for making the decision to sacrifice herself to save Liz... Don't give yourself up for me, especially without asking me. That's not what I want. For all the times that Shining made sure Liz knew she had a choice, this was the one time she didn't. Couldn't. And Liz won't have that. Whatever trials that await them, she wants to face them together with Shining.

The way Confessarius described Shining’s feelings towards Nightingale as “your rebellious love for her”. He knew that she would love Liz and factored that into his plan/manipulation of Shining. I don't know about you but… I don’t think there’s any other way to interpret that. No heterosexual explanation.

Realistically speaking, we know actual gay characters can’t make it past the censors unless it’s tragic (see Scavenger) or unrequited (see Tomimi). But Shiningale have like… playable immunity. It’s “implicit” enough to not trigger the censors but at the same time how can you not see it as romantic?

Their relationship is basically up there with Talulah/Alina. And I'd even go so far as to say that it's more explicit than Talulah/Alina. To my knowledge, they never used the word “love” to describe how Talulah felt about Alina. Just "friend". I know there's a point where subtext gets ridiculous enough to become maintext, but then that leads you to question why some get the "friends" label while others are allowed to use "love".

Could it be platonic love? Sure, of course you can love your friends. But would you pledge your entire life to a friend? What's so "rebellious" about loving a friend? (Interestingly, I think the JP translation calls it "immoral love", which is even more eyebrow-raising) Regardless, love exists between Shiningale. Confessarius knew it, and factored it into his schemes. He counted on Shining to love and cherish her. Shining loves Liz, that much is undeniable. And Liz loves her back, enough to stop Shining from sacrificing herself to save her. He's literally weaponizing the love they have for each other.

Shiningale and The Gothic

I had mentioned before that both characters' designs as well as the narrative beats of their story have Gothic literature elements. I want to make a list of the ones I could find that relate to them as characters and as a narrative:

A focus on medical conditions, doppelgangers (the "pure" Confessarii looking like each other), forbidden power/knowledge, the dichotomy between light and darkness, imprisonment, rebellion, isolation/seclusion, gloominess or a gloomy setting, the grotesque/macabre, terror/horror, justice vs revenge, good vs evil, fear and suspense, the supernatural/paranormal, female victims, prophecies/curses/omens, mystery and secrets, involvement of the clergy/religious figures (confessor/absolver of sin), the dead don’t stay dead/hauntings, romanticism

The Gothic hero is “weakened by love”, they either rescue their love interest or pine away in despair

Significance of blood (relations) and inheritance, the duality of giving and denying life

An examination of family structure, patriarchy, hereditary suffering

Dreams/nightmares, memories

Secrets, past sins, sins of the father, darkest deeds

Driven by love, duality of man (appearance)

Dwelling on the melancholy, of wistfulness and regret, but not overcoming kindness

Concept of “othering” from society (Shining split herself away from her blood family to be herself and with Liz, her chosen family

The protagonist’s passionate love is torn between his desire to achieve the beloved and the family’s disapproval, control, and choice. Gothic novels also tell the tales of love in vain. The lovers are parted due to the conspiracies of the people opposing them being together

Gothic sexuality is usually somewhat repressed—women are expected to be pure and somewhat helpless while men are expected to be quietly predatory. It's also patriarchal, with men making moves and women reacting to them

Homosexuality = the love that dares not speak its name. Repressed sexuality, forbidden desire

Female Gothic protagonists are often committed to justice, unwilling to compromise their values, loyal, respectful of others, curious, intelligent and devoted to their faith. Some are gentle, kind, likeable, clever, witty, quiet, supportive, thoughtful, hard-working, independent and strong. Others are courageous, witty, brave, determined, knowledgeable and socially competent. On the flip side, some are also strong-willed and outspoken to a fault. They’re often socially awkward, depressive, melancholy, brooding, solitary and selfish. Some are jealous, fiercely territorial, deceitful, powerless and deceptive. Others, like their male counterparts, are prone to violence

Male Gothic protagonists are often conflicted, solitary, tortured, brooding, and secretive, self-loathing, wracked with guilt, have a self-hate of their own existence

Female-centric Gothic stories often trend towards obscured/anticipated fears, focuses on persecuted women and the domestic space she risks entrapment within/disturbed spaces

Food for Thought

Ryuzakiichi has a knight original character. Tell me... this doesn’t just look like Shining without horns? THE RESEMBLENCE IS UNCANNY.

Knowing this, I'm convinced that he split the concept of a "knight in shining armor" into two characters: Nearl and Shining. Nearl embodies chivalry. Shining embodies devotion.

The followers dynamic can best be summarized as two knights swearing fealty to one lady, but what's interesting is that while Nearl is the most obvious depiction of a knight, it's actually Shining who serves the role even harder, because she is quite literally Liz's knight. Which tracks with how Shining looks nearly like a carbon copy of his OC. She's the one who rescued the princess from her tower, while simultaneously being the "wicked witch" who put her there in the first place. And just like a Gothic hero, is tormented and sees herself as a monster.

Comparison to the main plot of Shadow of the Colossus. The driving force is that Wander commits acts (largely agreed to be treasonous) in order to revive Mono. The relationship between Wander and Mono is left up to interpretation as to whether it's platonic, familial, or romantic, but most fans of the game seem to theorize that Mono is indeed Wander's love interest.

Normally I despise turning the Followers into a nuclear family unit in any direction (especially people saying Liz is a minor and infantilize her to be the designated "child"), but for a moment, seeing Shiningale looking at Nearl’s portrait, my brain interpreted them behaving like Nearl’s (substitute) parents being proud of her accomplishments.

This was not helped by stuff like Shining’s teasing ("Look at you, our knight acting snarky"), Liz asking if she and Shining were also Nearl’s family, and some apparent discussion about Mlynar being a "bad end" Margaret who lost his own light (his brother and sister-in-law, Margaret’s parents).

If Shining and Nightingale are to Nearl as Schnitz and Yolanta were to Mlynar, then that might also explain why he dropped his jerk behavior for one second just to compliment how the two Sarkaz were good for his niece. If Nearl had never met Shining and Nightingale, her own light might’ve gone out too...?

IN CONCLUSION

Shiningale are complementary in so many ways. It really feels like several aspects of their characters are tailor made to match; you can’t have one without the other, their development is tied together… soulmates. Hopefully this post helps encourage you to consider their story in a certain lens if you hadn't before.

To quote a CN post I saw on the matter after Chapter 13 was released (rough translation): "Shining's sword pieced Nightingale's heart, and Liz came alive. Liz's existence helped give Shining emotions. Liz became Shining's redemption. Shining renounced her old name and Liz cherishes hers, a transformation of two people choosing to fight and change their destiny. Although Liz is physically fragile, her spirit and will are very strong. Although Shining has excellent swordsmanship, her self-hate and inner turmoil weigh her down. They are truly complementary in every sense."

They each want to take away the other's pain. Shining doesn't want Liz to die. Liz doesn't want Shining to die for her. They are each other's mutual salvation.

#dl talks ak #arknights #shining #nightingale #tl;dr i'm not saying that romantic love is the true intent for their relationship #but that their story feels more effective if you do interpret it as such #it's a spiritual story about defying fate; but also a very yuri one #the beats of shining's self-hate; a patriarchal antagonist; heteronormative expectations; dismissal of their relationship; etc.#can just as well be applied to yuri; specifically of the 'class s' variety #I FINALLY WROTE IT

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slaymitchabernathy · 6 months

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Rats in the Lab

“How many?” He asks, holding up four fingers.

He can see her thinking, trying so hard to come up with an answer. Her bottom lip begins to quiver and her eyes begin to well up with tears.

“I…I don’t know,” she whispers, hanging her head in shame.

Coriolanus sighs. He knows he has to be patient if he wants to see results. It’s not his fault she’s so dumb. But boy is she sweet. That’s what gets him every time.

“Try,” he says, reaching into his pocket with his other hand and pulling out a small bag of crackers. Soarynn’s eyes zero in on the bags, her bony fingers wrap around the iron bars that separate them and grip them a little tighter. It’s like they’re at the zoo and he’s feeding her.

She looks up at his fingers again, her eyebrows furrowing as she tries to count them. Any Capitol child past the age of five could tell you how many fingers he was holding up but Soarynn’s not from the Capitol.

She’s from District Twelve.

“Th…three?” She asks, some hopefulness in her tone.

Coriolanus shakes his head, “Four.”

“Is that close to three?”

“Not really.”

Three is of course, close to the number four, but Coriolanus isn’t going to be the one to tell her that. He likes keeping her dumb, keeping her here, in Dr. Gaul’s lab.

At first, he thought it was a stupid idea what Gaul had pitched to him, taking twenty-four children at random from the Districts to study them. As if they didn’t already have the Hunger Games. And that caused enough riot as it is. But this was different. Gaul enlisted Peacekeepers to take the children quietly and without notice. They took the orphans, the most starving, the most desperate.

No one would miss them.

Then Dr. Gaul began her tests on them. She jokingly called them her “lab rats” since she felt that mice were a step above rats. But she also felt that rats could be extremely clever if they wanted to be, if they had the right motivation. Most of them died though. Coriolanus watched as all those children failed to pass her tests, slowly withering away in their cages while doing so.

Soarynn was the only one left.

Which surprised Coriolanus because she was a little runt girl from Twelve. He hadn’t been placing any bets on her. But she was smart, well, smarter than her counterparts. He hadn’t told her about them, their deaths. Dr. Gaul felt Soarynn would be more cooperative if she thought everyone else was still alive.

Once the children started dwindling down she assigned Soarynn to Coriolanus. “She’ll be your first subject,” she’d told him excitedly, “you can test her, learn about her, the more she trusts you the more willing she’ll be to conduct the experiments.”

At first, he’d felt a certain aversion towards Soarynn. Some filthy girl from Twelve didn’t deserve his attention. But then one night when he was cleaning lab equipment, he heard her sing.

His little songbird.

She had a beautiful voice and from that point on he spent an awful lot of time at her cage.

“You have some more tests this evening,” he says, glancing down at the clipboard he placed on the floor, “maybe you can get some food if you do well on them.” He ignores her pitiful look as he slips the crackers back into his pocket.

“Coriolanus?”

“Hmm?”

“Where’s Jessup?”

Jessup had been the boy from Twelve, the boy Soarynn came here with. He died two weeks ago.

Coriolanus pushes himself from the ground, looking down at her, “He’s in another room. I told you that before remember?”

Soarynn frowns and looks down at the dirty ground beneath her, “No I…I don’t remember you telling me that. I’m sorry.”

Coriolanus nods, “Well it’d be best you not forget in the future.”

He walks away from her cage, listening to the sound of her chain scraping across the floor. Every child they’d taken was given the same standard cage built into the wall of Dr. Gaul’s lab. It was small, low to the ground and it had a long iron chain that wrapped around one of their ankles. Dr. Gaul had mentioned maybe using collars but nothing has been done about it yet.

Coriolanus looks down at his clipboard while walking further into the lab, mostly to ignore the stares of the mad scientist's other experiments. Mutilated people, Avoxes, mutts.

Sometimes he wished she didn’t like him so much.

Gaul had given Coriolanus a wonderful opportunity once he graduated from the Academy. She ensured he won the Plinth Prize and she decided that he would work and study under her as an intern for a Game Maker. It’s too bad the woman’s a lunatic because he’s sure she’d give him some great advice.

He can hear her cackle as he nears her part of the lab and can see her zapping little mice with a laser of some sort, “There you are Coriolanus, how is your little songbird?” Coriolanus has done his best to put up a facade of indifference when it comes to Soarynn. She’s not his responsibility outside of this lab and yet he keeps coming back more and more. More than usual, more than he’s asked.

More than he should.

He clears his throat, “She’s hungry.”

Dr. Gaul waves him off, “She’ll get her chance to eat later. We’re putting her in the maze,” she says, throwing him a knowing look. The maze is quite literally a giant maze that’s been constructed below the Citadel. Every child has run through it at least once but the time it’s taken them to get through it has been disappointing. At least to Dr. Gaul.

Soarynn however has done quite well so far and for her sake, Coriolanus hopes she does well tonight. She’s still so skinny, so frail and while he has rules to follow, he can’t help but want to slip her some food every once in a while.

Want to take her with him to his apartment, bathe her, clothe her, hold her. She’d be his little songbird, safe from Dr. Gaul’s clutches and within his grasp at all times. He hates how he never knows what he’ll find when he comes into the lab, never knows if her cage will one day be empty.

“Hand me that other cage of mice,” she says, holding out her hand. Coriolanus grabs the cage, giving the mice a somewhat remorseful look before handing them off to Dr. Gaul. She smiles at him which still to this day unnerves him. Coriolanus has to remind himself that for the most part, Dr. Gaul is on his side. She vouched for him when it came to winning the Plinth Prize even though he cheated in the contest to win it. She stopped Dean Casca Highbottom from sending him to the Districts to serve as a Peacekeeper after he was found out for cheating. And she turned a blind eye when the Dean suddenly passed away unexplainably.

“Coriolanus is in a daze because his girls going into my maze.”

꧁ ꧂

Coriolanus shoves his hands into his lab coat pockets while he walks with the other Game Makers and assistants to the maze. His head is down while they all talk among themselves about the last time Soarynn ran the maze, what her results were.

Coriolanus veers left where the exit to the maze is but stops when no one follows him, “Oh we changed the layout,” one of them says, beckoning him to follow them, “we thought she might have memorized the layout so we moved it around. Never let them know our next step.” This Game Maker says it with a smile and Coriolanus forces one onto his own face while following them, “How clever,” he remarks.

And it is clever. But it’s also not good for Soarynn. If she doesn’t perform well then she won’t eat and as much as he hates to admit it, she’s getting smaller and weaker by the day.

Coriolanus stops with the group at the new exit, a set of screens attached to the wall where they can see a live feed from inside the maze. Coriolanus watches as two Peacekeepers carry in a cage, dumping Soarynn onto the floor. She looks frightened but she always does when she’s in the maze. He would be scared too.

Dr. Gaul’s footsteps alert Coriolanus and he looks up to see the woman wearing her signature evil grin, “Let the games begin,” she trills, walking over to the small console under the screens. She presses one of the buttons, and her voice is booming through the entire building.

“Good luck little girl.”

Soarynn shakily pushes herself to her feet, staring up at the nearest camera. Coriolanus can see how dirty she is, how tired and hungry. She looks into the camera with a bit of defiance though, the smallest amount she can muster before she sets off into the maze. Coriolanus can’t take his eyes off the screen when Soarynn comes to the first turn.

Left or right.

He holds his breath because the maze hasn’t always been this way. She used to go straight for a good twenty yards before having to make a turn. Before Dr. Gaul decided to mess everything up. Soarynn stops, looking left and then right before taking a step back.

She knows. Knows it’s different.

Soarynn looks over her shoulder and up at the camera, her eyes almost pleading with whoever’s watching. Dr. Gaul chuckles, “Run little rat, run.”

Soarynn chooses to go left and makes her way down the narrow passageway, her hand dragging along the wall. She’s going to slow, Coriolanus thinks. It’s not her fault, but she used to be able to sprint through the other maze.

He tears his eyes from the screen to watch Dr. Gaul press another button and he can suddenly see the same Peacekeepers wheeling in a large-looking tank. His breath catches in his throat and he watches as they tip over the tank, a rainbow of snakes falling into the ground and slithering into the maze.

“Dr. Gaul,” he starts but she holds her hand up, her eyes on the screens, “Don’t waste your breath Coriolanus, she either finds her way out or she dies. I’ve collected all the data I need either way.”

He can feel his fists curling and his jaw clenching but he says nothing as they all watch the snakes slither into the maze, searching for Soarynn.

She’s making good headway, almost halfway through when she hears the snakes. She stops in her tracks, listening to the hisses. Soarynn frantically looks around when she sees the first snake rounding the corner, both of them locking eyes on one another.

"Run," Coriolanus whispers.

Soarynn sprints in the opposite direction of the snakes, rounding corners with no way of knowing where they'll lead. Coriolanus can feel his heart pounding and all the while Dr. Gaul and her assistants are writing down notes. Soarynn comes to another set of delivered passageways and takes a left, the snakes closing in behind her.

It's a dead end.

Coriolanus swears under his breath. She's dead, as good as dead. She's trembling as she backs herself into the wall, her tattered white hospital gown nearly falling off her shoulders, tears streaming down her dirty face. She looks up at the camera watching her, desperation in her eyes. It's like she's pleading for Coriolanus to come save her.

But he can't.

He can feel a few of the Game Makers watching him along with Gaul's assistants. It's no secret that he's gotten a little closer to Soarynn, spent more time with her. But she's just a girl from Twelve.

He tries to look away but he can't, watching the snakes slowly slither towards her. Soarynn lets out a shaky breath and slides down the wall, pulling her knees to her chest, already giving up.

Dr. Gaul shakes her head, "Well that was the last one, let's go." She snaps her fingers and they all begin to follow her, Coriolanus lingering at the back of the group, looking at the screens one last time.

He waits for the scream. But he never hears one. He hears singing.

You're headed for heaven, The sweet old hereafter And I've got one foot in the door But before I can fly up, I've loose ends to tie up Right here in the old therebefore

Coriolanus stumbles back towards the maze, absolutely enchanted by her singing and it seems the snakes are too. Their movements have become rhythmic as if dancing along to Soarynn's song. She keeps singing, singing for her life. She'd told him that her mother used to sing her songs when she was little before she died. This must be one of them.

He can hear the others coming back, all watching as Soarynn continues to sing, and the snakes linger from attacking her.

"Why aren't they attacking her?" One of them asks.

Coriolanus shakes his head, "It's her singing, it must be calming them."

He's sure Dr. Gaul is furious but you've got to give credit where credit's due and Soarynn is still singing, still alive. And she knows she's winning this game. The snakes finally reach her and Coriolanus prepares for them to lunge, to sink their fangs into her skin but they don't. They wrap themselves around her, creating almost a rainbow dress. Coriolanus holds his breath though, she's not safe until she's out of the maze. What had she said to him one day?

'It's not over until the Mockingjay sings.'

Well, she's certainly a little songbird now.

The snakes are wrapping around her arms now, slithering all around her and she looks up into the camera, her fear replaced with anger.

When I'm pure like a dove When I've learned how to love Right here In the old therebefore When nothing is left anymore

Soarynn continues humming her sweet tune as she slowly stands to her feet, careful so as to not disturb the snakes. She makes her way through the maze, taking her time like the way she was before, not making any efforts to remove the reptiles that have made themselves at home wrapped around her small frame.

Coriolanus and the rest of the group watch in disbelief as she finally makes one last turn and walks out of the maze towards them. He can see her chin trembling while she hums, her eyes meet his eyes and they're frantic, she's scared. But she's holding herself together tremendously well.

Soarynn stops a good five feet away from them, weary of the Peacekeepers who are also watching in awe. "I played your game," Soarynn says to Dr. Gaul, her eyes now boring into the scientist, "get them off of me."

Coriolanus looks over his shoulder to see Dr. Gaul watching the snakes, a frown on her lips. "Dr. Gaul," he says, pulling her from her thoughts, "she won. She got out of the maze she won."

Gaul purses her lips before nodding, "So she did. It seems the lab rat has become a songbird." She snaps her fingers and the snakes fall onto the floor causing several people to gasp and back up as they begin to slither towards Dr. Gaul. She allows them to wrap around her the way they did Soarynn and gently holds one in her hand, "You've impressed me, little girl," she says, nodding at Soarynn. She then turns to Coriolanus, fixing her creepy stare on him, "And that shall be rewarded."

Coriolanus suddenly feels very nervous about how exactly Dr. Gaul plans to reward Soarynn. She could throw him in a cage, let Soarynn be in charge of his well-being. He is after all her captor in one way or the other.

"You'll go home with Mr. Snow for the night, enjoy a nice warm bed and bath before you come back tomorrow for more tests."

Coriolanus feels his heart racing at the prospect of bringing Soarynn home with him, having her in his bed. Soarynn gives Gaul a shaky nod, her legs trembling as the mad woman walks back into her lab, her assistant in tow.

Coriolanus cards his fingers through his hair and takes a few steps toward Soarynn's trembling frame. He hasn't been around her much when she's been outside of the cage, not that this runt girl poses much of a threat to him. He could easily overpower her if need be.

"You did good," he says, giving her a nod of approval. Tears spill from Soarynn's face and she stumbles towards him, holding her hands out and Coriolanus finds himself grabbing them, engulfing her in his strong hold. Soarynn sobs into his chest, probably staining his pristine white shirt but that's alright, he can buy a new one. Her on the other hand, well, all she's wearing is the tattered white gown along with some underwear and he's sure they're in the same condition as her dress.

Coriolanus lets her cry it all out. It's been a rough month for her in the Capitol. Not even he can deny that. "It's okay Soarynn," he whispers, his hand coming up to hold the back of her head, "you did good, and now you get to come home with me. Doesn't that sound like a nice reward?" He knows he'll probably go to hell for this, aiding in the kidnapping of this poor girl and then taking her home with him as a means of rewarding her. Since when has a good night's sleep counted as a reward?

Sobs rack her entire body and her hands clutch onto his thick red coat, treating him as if he were a lifeline. "I...I thought I was gonna die," she choked out, looking up at him. He can't help but feel his heart break just a little for her. She's so young, so fragile. Her file gave him the bare minimum about her background but he knows she's sixteen. He gently brushes some hair out from her face, "But you didn't. So let's go home and take a nice bath hmm?"

Soarynn nods, wiping her face with the back of her hand, "Okay," she whispers, her body sagging with exhaustion.

She lets him lead her through the lab, it's dark by now, making it seem even scarier than usual. He feels Soarynn curl further into him when they pass a tank with an Avox in it, gills grafted into their skin. "It's scary in here," she murmurs. Coriolanus nods, one of his arms still wrapped around Soarynn, mostly to keep her standing. But a small part of him also enjoyed finally being able to touch her without iron bars standing between them.

They reach the elevator and he even lets her press the button, something that clearly fascinated Soarynn. He was beginning to grow a bit impatient waiting for it to arrive and jumps when he feels a hand on his shoulder. It was Dr. Gaul.

It seems that she was able to calm down from Soarynn upstaging her but you could never be too sure with Dr. Gaul. He expected some great big riddle but she simply leaned in and whispers, "She's a most impressive specimen, even if she's from the Districts. Tonight I'd like you to procreate with her, have intercourse, for research purposes of course. Offspring could be very valuable assets for us."

Coriolanus slightly pales but nods, "Of course Dr. Gaul."

꧁ ꧂

It's dark in his penthouse. Coriolanus thought he'd get home much earlier but today has certainly been a strange one.

Soarynn clings onto him as they walk further into his home, to his bedroom. Coriolanus can't help but feel a little inconvenienced by all of this, saddling him with the responsibility of Soarynn and her well-being. Suppose she suddenly fell ill and died in the middle of the night? He didn't want to be responsible for that and the repercussions that would follow suit.

"This is your house?" Soarynn's question pulls him from his nagging thoughts and he looks down at the small girl who's looking up at him with amazement. He nods, "It's my family's penthouse," he tells her proudly, pushing open the doors to his bedroom.

His bedroom is the largest one and is furnished with taste thanks to the Plinth Prize. His eyes land on the bed and the thought of sleeping with Soarynn, impregnating Soarynn makes his stomach twist. She's a virgin, she has to be. He finds her looking around in amazement, much to how she's looked at everything they walked by to get back home. He hadn't thought of the fact that Soarynn was most likely brought here in some sort of crate and not given a proper tour of the Capitol. Everything was so new to her.

"Let's get you in a warm bath," he suggests, nodding towards his bathroom.

It's a bit uncomfortable for both of them, getting her undressed and into the tub but they manage it. Soarynn is filthy. Covered in dirt, sweat, tears, and who knows what else. Coriolanus does his best to be gentle when washing her body, averting his eyes when faced with her bony spine sticking out. He can count every one of her ribs. Soarynn looks almost like a small child sitting in his tub, looking up at him with those blue-gray eyes, so trusting.

Coriolanus frowns when realizing that he's entirely underprepared. He doesn't have any shampoo or other products for her to use besides his own. But she wouldn't know the difference. "Close your eyes," he says, scooping up some water. Soarynn does as she's told and it stirs something inside of him. Something primal. He's quick to wash her face, revealing freckles he's never seen before. Soarynn squints up at him once he's done, "Can I have something to eat?"

The poor thing must be starving.

"After your bath," he answers while grabbing the shampoo.

Soarynn falls asleep while he cleans her hair, her chin resting on her knees. Has she ever had a warm bath before? Had her hair washed? Coriolanus wonders what it would be like to always wash her hair, draw her baths for her. Dr. Gaul would never allow it though. A District girl running around the Capitol is the last thing she'd want from this experiment. And besides, Coriolanus has to focus on his studies at the University. "Let's get you all dried up," he says, grabbing a towel.

Soarynn allows him to dry her off but becomes shy when he pulls the towel away, baring her naked body to him. He might as well get used to it considering what Dr. Gaul wants him to do to her tonight. Her skin is tan, her legs thin but long, her collar bones poke out and her face is slightly sunken in. But she looks pretty.

"How old are you?" She asks, tilting her head.

Coriolanus has always kept his life private from Soarynn and her questions. Over the past month she'd told him things about her and her life but he rarely ever opened up about his. "I'll be twenty in November," he says, smirking when she blushes. He might as well give her some of his clothes too so he heads to the closet, not surprised when he hears her clamber out of the tub and follow him. Since winning the Plinth Prize Coriolanus had been able to revamp his entire wardrobe.

"You have so many clothes," she says in awe, spinning around the closet. Coriolanus chuckles and grabs a white button-up from the rack, "None of them will fit you but this should do for tonight." He holds out the shirt and Soarynn gingerly takes it from him, bringing it up to her nose and smelling it. Coriolanus quirks his eyebrows at the strange sight and she giggles, "It smells like roses, just like you," she explains.

Well, he had been told that he smelled like roses before, but to hear it from her somehow meant more for some reason. He watches as she slips on the shirt but she fumbles with the buttons and he can't stop himself from helping her, from doing the rest. Soarynn looks up at him while he buttons his shirt and he does his best to avert his eyes but he can't. Not when she's finally right in front of him, touching him.

His fingers slightly shake as he does the last button and he clears his throat, "Let's get you something to eat."

꧁ ꧂

She gorges herself. Coriolanus almost wants to ask her to slow down but he knows he shouldn't. Not when neither of them knows when she'll eat again. The whole situation feels a bit cruel, letting her experience all of this just to throw her back into that cage. Her left ankle has a horrible cut on it from how tight the shackle around it was. He wrapped it with gauze after cleaning it, but it felt pointless in the grand scheme of things.

"I want that," Soarynn points to the bowl filled with ice cream. He'd brought out practically everything he had in the fridge, figuring it was now or never for her. She's also sitting on his lap, he insisted on it. And she's so small, so warm and she smells good now that she's had a bath. His hands gently press into her sides, "I think you have better manners than that," he says.

Soarynn sighs, kicking her feet in the air for a moment, "Can I please have that?" He doesn't know why he's trying to teach her good manners, it won't really matter since she'll die in that cage sooner or later. But if they do have a child, he wants it to have the best manners possible, and that has to start with Soarynn.

He hums and reaches across the table, grabbing the bowl of ice cream, "You certainly may."

He watches with a small smile on his face as she eats her ice cream, she'll probably be sick in the morning from how much she's eating tonight. She might be sick from what he's about to do to her tonight.

Coriolanus slowly slips a hand under the shirt, feeling her soft skin. Soarynn pays him no mind as she keeps eating, like an animal at the zoo that he feeds every day.

"Soarynn?"

"Hmm?"

"Have you ever....have you ever been touched before?"

Soarynn stops eating and looks at him over her shoulder, "Aren't you touching me right now?" Oh, she's so sweet and innocent. Coriolanus shakes his head, "No, I...I meant it in a different way. I'll show you once you're done eating okay." Soarynn just shrugs, "Okay I trust you Coriolanus."

꧁ ꧂

"It hurts," she cries, her hands trying to break free from his belt.

Coriolanus presses a kiss to her neck, "Shhh, it's okay, you're okay Soarynn, we have to do this, Dr. Gaul said so."

Soarynn's cunt is so fucking tight he can barely fit but he does. She feels so good, so warm. It had taken far too long to get her like this, tied up and spread out for him. At first, she liked it, touching him, kissing him, but then she didn't. She got scared. Coriolanus couldn't have that, couldn't fail Dr. Gaul. He had a job to do.

Soarynn sobs as he finally bottoms out, "She's a terrible person, she...she's hurting my friend Jessup." She lets out a whimper as Coriolanus begins to slowly thrust in and out, feeling her walls wrap around him. His eyes slightly widen when remembering Jessup and how he died, too much voltage, his heart stopped so fast.

"Jessup is dead babydoll," he grunts, picking up the pace.

Soarynn gasps and it's not from the pleasure. Her eyes fill up with tears, "What...I...no you, you told me he was alive." She squeezes him so tight when she cries, to the point where he wants her to cry. Coriolanus wraps his hand around her small throat, applying pressure, watching as her eyes widen, "You see Soarynn, Jessup was never going to survive. None of those kids survived. You're the last one angel, the lone Victor and this is how you're being rewarded so you better put on a smile and be fucking grateful." His once somewhat kind persona slips away into nothingness as he thrusts into her cunt hard, his tip pushing against her sweet spot.

Soarynn's still crying but he ignores her and focuses on that sweet cunt of hers, watching as it takes him again, and again, and again. She looks so perfect like this, so small and helpless under him, completely at his mercy. Coriolanus smirks when he sees her stomach bulging, not surprising considering how skinny she is.

"Look at that," he drawls, "fucking you so deep huh? Can't believe District cunt feels this good, it's a shame you had to stay in that cage for so long but don't worry baby, you're in for a long night."

Soarynn's tears have dried up and she's settled for simply looking away, looking up at the ceiling as he fucks into her, trying to block all of it out. But Coriolanus isn't having that. No. After all, he's done for her, fed her, taught her, he practically got her out of that maze. He lets go of her neck and reaches for her clit, pleased when she seizes up at the stimulation. "You like that?" He taunts, hitting her sweet spot faster and faster, Soarynn's eyes start to roll back, the pleasure finally taking over.

"Maybe I can cut a deal with Dr. Gaul, have you live here with me, keep you on my cock all the time. Bet you'd like that huh? And if you misbehave I can always put you back in that cage. You like being my little fuckdoll don't you Soarynn?"

All that leaves Soarynn's mouth are little moans, gasps really, sounds that he's forcibly fucking out of her. He watches her eyes roll back, her cunt tightening around his cock, making it harder to fuck her at a fast pace so he slows down. "Answer me," he grits out, his other hand grabbing a handful of her hair, and shaking her head around like she's a doll. "Yes!" She cries out, squeezing her eyes shut, "I love it!"

Coriolanus scoffs, she's being so ungrateful, acting like she isn't lucky to be getting fucked by him. But he'll make her see, make her grateful. He's determined to see her cum and goes right back to rubbing her clit, grinning as she begins to squirm and moan, her breaths growing rapid, "Oh please," she gasps, her back bending off the mattress. "Cum Soarynn," he says, "be my good little fuckdoll and cum." Soarynn's moans are a sweet symphony as she cums all over him, triggering his own orgasm. Coriolanus grunts as he fills her cunt, fulfills his task. He slows down, giving himself a second to catch his breath while looking at Soarynn and her blissed-out state. She almost looks as if she's in shock, just lying there.

Coriolanus slowly pulls out and groans when he sees her puffy cunt filled with his cum. It satisfies a deep-rooted urge inside of him and he smirks, she's never looked better. Of course, he needs to ensure she gets pregnant tonight, so he's more than willing to go a few more rounds.

His little songbird won't mind.

꧁ ꧂

"It's a boy."

Those words echo through his head as he walks through the lab, giving people a polite nod as he passes by them. He's on his way to deliver the news to her, to Soarynn.

She's sitting on her bed when he walks in. Her stomach round with his child. She looks a little tired but also relieved to see him. He gives her a small smile before taking a seat next to her on the twin-sized bed, "How're you feeling?" He asks, reaching out and placing a hand on her swollen stomach. Soarynn shrugs, "My back hurts. Can I get medicine for that?" Coriolanus chews the inside of his lip, Dr. Gaul has been very strict about what Soarynn puts into her body including medication. She wants this to be a natural birth at all costs.

"I'll have to ask," he says, taking her hand and giving it a squeeze. Soarynn gives him a small smile in return but he can tell her heart isn't in it. She probably just wants to know the results. "It's going to be a boy," he tells her, carefully watching her face for a reaction. Soarynn's eyes widen and she looks around her small room.

Once she got pregnant, Dr. Gaul let Coriolanus talk her into giving Soarynn a small room within the lab where she could still be monitored and studied. He mainly pushed for it because he couldn't have a child of his living in a dirty cage, even if they weren't born yet. Soarynn's room was the size of a large closet at best. There was a twin bed in the corner, a desk with a chair, and a plastic mirror. Gaul insisted that her room be baby-proofed so she couldn't try to kill herself in the middle of the night.

Coriolanus knew she wouldn't. As much as she despised all of them she loved her child. Her room was covered in drawings she'd made. Coriolanus had given her a sketchbook and a box of crayons for her birthday, a most precious gift to her. He knew she still resented him, for everything he'd done to her. But he was her lifeline right now, her advocate, so she was nice, she behaved.

"Are you happy?" He asks, nervously shifting on the bed.

Soarynn brushes her hair behind her ears and looks up at him, fear and uncertainty in her eyes, "Are you happy?"

Coriolanus frowns, it's not really important if he's happy. This is all for the sake of the experiment, to create an highly intelligent child, both emotionally and intellectually. But for the sake of her health and the baby's, he nods, "Yes. I'm very happy Soarynn, I'm very pleased with you and your progress." He leans in and places a kiss on her cheek and she smiles, "Okay. Okay, I'm happy too Coriolanus."

꧁ ꧂

Coriolanus paces outside the room, the room where Soarynn is lying on a hospital bed giving birth.

He wasn't allowed inside, he didn't think he wanted to be in there if he was being honest. Not when he could hear Soarynn's screams. She was in pain. She was scared. She was so young. Too young. He realized that too late it seemed though. But he planned to take her away from this place once their son was born, take care of her, maybe even love her.

He could hear her screaming for help, for it to stop, for him to come help her. He could hear Dr. Gaul instructing her to push.

Then it all went silent.

Then he heard it, the sound of a baby crying. His son.

It was only a minute later that Dr. Gaul was walking out with his son in her arms, wrapped up in a blanket. Coriolanus smiled down at the child who looked just like him, with blonde hair and he was sure blue eyes too. "He's perfect," he whispers, "oh it's perfect. I should see Soarynn now."

Dr. Gaul says nothing as he walks into the room where her assistants are already cleaning up and he stops in his tracks when he sees it.

Sees her. Dead. A once beautiful Soarynn now dead on the hospital bed. Blood covering her. It's soaked through her hospital gown, into the sheets, down to the floor. Her eyes are wide in fear, tears on her cheeks.

Coriolanus has to stop himself from throwing up as he stumbles out of the room and back into the lab where Gaul is bouncing the newborn up and down gently, cooing and smiling.

"What...what happened to Soarynn?" He chokes out, suddenly overwhelmed with emotion, with grief for that sweet little girl from Twelve who couldn't count four fingers.

Dr. Gaul shrugs, "The birth was taking too long and we couldn't afford complications so I chose to perform an emergency cesarean section. The mother's life was of no concern once we got to the child safely."

Coriolanus stares blankly at the newborn, "You killed her."

Dr. Gaul chuckles and smiles down at his son who will grow up without a mother and she shakes her head, chuckling.

"Lab rats die all the time Coriolanus."

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