This isn't anything like either of the pieces I had prepared. Still, I, or rather Cameron chooses right or left, and I'll leave it tomarcasite
to tell us what that will lead to:
Cameron knows that House intentionally put her on the spot. She knows she has to make a choice, and do it quickly. The light won't stay red forever. Luckily, or not, this is one of those intersections where you can't turn right on red. She knows that the sign saying so wouldn't have stopped House, but she's painfully aware that she's not House. And it's as good an excuse as any.
She's sure it won't help to ask House to explain what he meant by turning right meaning 'yes' and turning left meaning 'no'. 'Yes' to what? Going to his place? To the carnival? But then, what does 'no' mean? What was that about a detour? If she asks him any of these questions, he's bound to give an answer that would confuse the situation even more. She won't try to get into his head. She'd get lost in that rat's maze he calls a brain, and might never get out.
So she has to decide what she wants. She wants to show that she's decisive. Whenever she has been in the past, taken control of a situation and acted independently, there was always a glimmer of admiration in House's bright blue eyes. She yearns to see that approval again.
Cameron looks at the street sign, Gibson Street. Has she ever been on it before? What's to the right? To the left?
The light changes, and she turns right. “Mind if we make a stop along the way?” she asks and out of the corner of her eye she catches a look of surprise on his face.
They drive several blocks before she catches sight of the building she remembers. Once they reach it, she pulls into the crowded parking lot. She finds a spot to park and turns off the ignition. As she opens the door and starts to get out, she turns back to House and asks, “Are you coming?”
The look of approval she desires is there, accompanied by one of total amusement. “I wouldn't miss this for the world.”