Your head whips in her direction. Itâs just as you feared, and hoped would not follow you here, in a place you came to understand as a layout, information you wished you would not need; much like the first hunter you met, however, she is benevolent, or at least claims to be. You doubt it would be easy for her to chase you around this place, if she wanted to. You have the advantage of being able to clamber onto platforms, stairs, rising ground, and she does not, although she has her certain ways to hinder you regardless of her own capacity to follow.
  You briefly watch her reassure you, trying to calm your breathing. You look back towards your instrument ( not yours, but under your command for as long as nobody protests ), waiting patiently for touch.Â
  The way you know it, music is not an art. It is a conversation. It fills in the gaps of silence and speaks when you are better off keeping your mouth shut â when you have little to say and words come at a standstill. And you donât talk to a hunter â you run from them and pray you never meet.
  âMs. Galatea,â You greet, hiding the tremble in your voice and steadying your shaky hands with much effort. âIf you would- allow me to play for you.â
  Your fingers are a touch more clumsy, and this melody is the slightest bit out of tune, but you persist; it is noticeably more somber, but not dark. Gentle, atmospheric, with a steady speed. You know not what you aim to achieve - placate her? You havenât angered her, you donât think. All you know is that she is initiating a conversation, and you are responding. The song comes to an end that fades out into the quiet air of the building, in contrast to the abrupt noise that cut you short earlier.
  You donât stand up. You are fine just where you are, with her just where she is. ââŚHave you been here long? I neverâ never heard you come in.â
||  â ââ the offer to play for galatea is unexpected, but itâs interesting nonetheless. she can see the fear in the survivorâs eyes, and indeed her stance, but does not choose to address it. why pick at the weaknesses in the hearts of others, after all? if the doctor is afraid, well, that really is only natural. galatea uses her arms to adjust her position in the wheelchair, leaning on one of the arm rests, head cocked ever so slightly to the side and propped up on her hand as she watched.
the picture of a captive audience, if an extremely casual one. she doesnât know how to address the doctor ( indeed, feels a little at a disadvantage, as the doctor recalled galateaâs name, but galatea has no memory of the doctorâs ), so she simply chooses not to, just watches. those unsettling black eyes unblinking as the woman begins to play.
galatea hums very softly to herself, along with the music. if she notices the slight errors present in the rhythm of it, she shows no indication of it. her focus is entirely on the doctor, though. the music is pretty, and galatea likes it, and to an extent, thatâs all that matters.
art, both visual and musical, does not always need to serve a higher purpose. sometimes it is enough that someone enjoys the result of it. she wonders if the doctor is enjoying the process. that part is important, too.
when the song concludes, a smile pulls at her lips. smeared, dry lipstick cracks along the corners of her lips. it takes her a moment to answer the question.
â i just came in. this place is pretty, and i heard the sounds of someone inside. i forgot, for a moment, that iâm not looking for anyone. â