new msg received @ private terminal — @ccrleone.
subject: re: MORBID CURIOSITY … [ REMASTERED ]
MOMENTS OF PEACE ARE SCARCE. EVEN FAR FROM THE BATTLE, IN THE QUIET OF THE HOSPITAL they've shipped michael to, the silence lingers, oppressive. forced. a guise of serenity worn thin by the smell of sterilising chemicals and blood and sickness wafting throughout every corner of the facility. it settles heavy even in the empty stairwells that shepard takes upwards as he traces the path he's memorised ( though he's only taken it once, a couple weeks before ) to the room of captain michael corleone. more aptly: the room that captain michael corleone shares with a number of the injured and the sick, though none quite close to dying. a small thing, but it matters.
the extent of michael's injuries were at first, and for days, vague. it was only through persistent digging through a series of unofficial channels, some of them alliances he had forged on his own in recent months and several of them friends of the don — an effort that had grown increasingly frantic when shepard learnt that michael corleone had been shipped from the clearing station to a hospital, a transition that implied graver injury and more severe methods of management — that shepard eventually unearthed the truth. michael's life had not been at stake. shepard had visited anyway as soon as time allowed, to make certain of it with his own eyes. and for the sake of the don, though perhaps not so much as for his own sake.
maybe it was the corleone family name that warranted michael's speedy extraction from combat. that's the likely case. even with eyes on his boy, shepard expects that don corleone's reach holds a certain power even as far out as the pacific theatre and that, shepard aside, there are plans laid out for any number of contingencies. whatever the case, michael being sent to a hospital was not the death sentence that shepard had feared it might be.
he glances, now, across the row of beds lining the room. most have cleared out — gone home or gone to the grave, who knows, but nonetheless gone — to make room for new and unfamiliar faces. the room is full; none of its cots ever lie empty.
michael looks well from a room's distance away. awake and aware, and better-rested, at the least. this shepard ascertains as he nears michael's bedside.
' what do you make of this? ' says michael in greeting, straight to business, brandishing the papers in his hand.
shepard knows what this is about. still, he takes the evidently very pressing papers from michael's hand. silence lapses between them for a minute or two as he picks his way through the printed text and squints closely at the clusters of letters that blot and swim, though he knows very well what they say. the gist of them, anyway.
he takes a moment, too, to — very carefully — choose his words. ( michael might suspect something if he spoke too quickly. shepard's surprised, really, that he's made it this far along without any trouble. then again, if michael's ever been suspicious, it's just as likely that he's simply kept quiet about it. )
" nothing to make of it, skipper, " shepard says at last. michael is not a stupid man. far from. one poorly chosen word could be a grievous misstep; don corleone had warned him of this. this is not a task as simple as accompanying his youngest overseas — if simple is the word for making oneself part of a Great War, as great a war as this century or any other may ever see. but war is war, to shepard. being a friend to michael, on the other hand, and as the don had put it, is no easy undertaking.
though michael himself is not difficult to like. it might have been more difficult if it were santino, a man that shepard finds almost unbearably abrasive even at his cheeriest ... or fredo who, on the other hand, leans much too far the other way. shepard wouldn't have a damn idea what to do with him.
the fact is that neither of them would have ever ended up here. neither sonny nor fredo have the will, or the want, to ever go against the don's wishes. this choice — to be here across the sea, on the front lines and far from father and family — is one that is distinctly michael. a choice that may have cost him his life ... and yet it was his. he had made it.
but that brings about other problems. michael's smart in ways that sonny and fredo aren't, calculating in a manner that isn't so easy to tell beneath the soft-spoken amicability. that, to shepard, commands a respect greater than sonny's loud and hotheaded streak ever will. it also makes him dangerous. ( not unlike his father. ) with sonny, all shepard would ever have to do is be willing to take a beating. with michael, though ... with michael, he treads with care.
" ... it means you go home, i guess. that's it. that's all. " he lowers the medical evaluation papers, careful not to crease them ( the proof of his success, of michael corleone's eventual separation from the military, though he lets no hint of his relief spill into the uneasy quiet between them ) as he sets them at michael's bedside. his gaze lingers, on nothing in particular, before he looks again to michael.
' guy like you — probably got family that'll be happy to see you again, ' he thinks of saying. he doesn't. the words would sound tacky, coming from him, and unusual, to say the least. he's never had a family to speak of, never particularly cared for the sentiment, and michael knows that. the implications of bringing up the matter of family now ...
a man like shepard, under any other and more ordinary circumstances, wouldn't care to know much about the corleone family. ( someone like him should have very little, if anything, to do with the family at all. whether his association with the corleones will continue after michael's return home, whether it will ever even be spoken of, is a decision left with the don. ) and he doesn't care to have to lie to michael in any way — not now, not ever. shepard likes michael. he really does.
instead: " i didn't know you were that bad off. what'd the doctors have to say ... you talk to them about this yet? "