[ cheryl gives a small nod before settling down next to her. she leaves a space between them, but that at least probably isn't too surprising.
this is why she sent the text. emotions can get a lot more... real when you include things like body language and facial expressions. it's much neater when you can set your phone down before responding. ]
I assume what you have to offer is satisfactory for my tastes.
[ cheryl knows that they are, but she's also retracting from the point here. ]
You're in the house of the Lodge family. We have our own vintage rum. [Veronica is well aware that it's stalling. There's a hint of impatience to her voice, something that's almost unavoidable considering.]
But we're not here to discuss Daddy's makeshift wine cellar and you know that as well as I do.
[ but she doesn't argue against veronica's point past that. she straightens out her back, trying not to get too comfortable on the couch in case she needs to make a quick getaway. ]
Veronica. These past few months have been... tremendously difficult for a lot of people, but primarily me, as I'm sure you have noticed.
I'm well aware. At the heart of everything that's happened, you've been a touchstone for ... a number of things. And even if it didn't always benefit you, you were willing to help. I understand what it meant to confront some of those things.
[The issue of the Sugarman. The issue of her father. The issue of, well, Nick St. Clair.
[ or... well, all. she's actually glad to know what kind of monster her father was, but the cost of discovering that was far too much. ]
I'm not stupid. I know that, usually, when people came to me to "help" it was because there was some sort of ulterior motive involved. They needed me for information that someone else I was connected to could provide. You're guilty of that too. [ ... ] But you're also one of the only ones who did also, genuinely, come to me with pure intentions. More than once.
We won't always be on each other's good sides. [That goes without saying. Even with the emotional element thrown in.] But I think I can firmly say that we're better off when we are. And no matter what, you know you can count on me, Cheryl. [To come rushing for whatever—even if she's angry. It goes without saying.]
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this is why she sent the text. emotions can get a lot more... real when you include things like body language and facial expressions. it's much neater when you can set your phone down before responding. ]
I assume what you have to offer is satisfactory for my tastes.
[ cheryl knows that they are, but she's also retracting from the point here. ]
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But we're not here to discuss Daddy's makeshift wine cellar and you know that as well as I do.
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[ but she doesn't argue against veronica's point past that. she straightens out her back, trying not to get too comfortable on the couch in case she needs to make a quick getaway. ]
Veronica. These past few months have been... tremendously difficult for a lot of people, but primarily me, as I'm sure you have noticed.
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[The issue of the Sugarman. The issue of her father. The issue of, well, Nick St. Clair.
It's a long list. Too long.]
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[ or... well, all. she's actually glad to know what kind of monster her father was, but the cost of discovering that was far too much. ]
I'm not stupid. I know that, usually, when people came to me to "help" it was because there was some sort of ulterior motive involved. They needed me for information that someone else I was connected to could provide. You're guilty of that too. [ ... ] But you're also one of the only ones who did also, genuinely, come to me with pure intentions. More than once.
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[ she doesn't say it in an accusatory tone. she's not trying to make veronica feel bad; it's just a statement that she sees as fact. ]
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[The mob boss allusions are constantly in play. It feels like there's little that can change that.]
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[ for now, since with how their lives are, who knows what will be the next major thing to happen. ]
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[At this point, Veronica only partially believes in the "greater good" aspect of it all.]