Friday shift ends at seven, but I don't leave the hotel until eight. Overtime nobody pays for. I take the bus anyway, because the extra dollar for the express isn't a dollar I have.

I feel him before I see him. That's the strange thing about Dean — I spent four years learning the weight of his presence, and even now, even broken between us, my body still recognizes it, the way you'd recognize a smell from a house fire.

He's parked half a block from my building. Leaning against a car that costs more than I'll make in five years of mopping floors. Waiting like he has all the time in the world, because he does.

"Diana."

I don't stop walking. "Go home, Dean."

"This is nice." He gestures at the block — the fire escapes, the trash cans, the bodega with the flickering sign. "Really. Suits you."

I keep my keys ready in my left hand. My right stays low, tucked against my thigh, the way it always does around him. I don't want him looking at it. I don't want him remembering what he let happen to it.

Then his eyes go past me, up to my window.

Lulu is there. Forehead against the glass, the way she waits for me every night, small and pale in the lamp light.

Dean goes very still.

"Whose is she?"

"Excuse me?"

"The kid." His voice climbs a register I remember from the worst nights of our marriage — thin and tight, the sound right before he breaks something. "How old is she? Two? Three?"

"She's not yours, if that's what you're circling."

"I didn't ask what she's not." He steps closer. "I asked what she is. To you. Who's the father, Diana?"

"Goodnight, Dean."

I try to move past him toward the door. His hand closes around my wrist — the right one, the ruined one — and twists.

The pain goes up my arm like a struck match. I gasp before I can stop myself, a short, ugly sound I hate giving him.

"Let go."

"Not until you answer me."

"Let go of my hand."

Through the window, Lulu doesn't move. Doesn't cry out. She just goes rigid, both palms flat on the glass, watching. I know that stillness. It's the stillness of a child who has learned that noise makes things worse.

"Dean —"

A sound cuts through the block — tires, hard and sudden, the particular scream of expensive brakes. A black Maybach stops crooked at the curb like the driver didn't care where it landed as long as it landed fast.

The door opens before the car has fully settled.

He's tall. That's the first thing — taller than Dean, than most men I've stood near. Dark coat, no tie, and eyes so cold and so focused it takes me a full second to understand they are focused on Dean's hand around my wrist.

Three strides. That's all it takes him to cross the sidewalk.

He doesn't say anything first. He just takes Dean's wrist — the one gripping mine — and peels it off with a motion so controlled, so precise, that it looks almost gentle until I hear the small, involuntary noise Dean makes.

Then he has him against the brick wall. Forearm at his throat. Dean's shoes scrape the pavement, trying to find purchase that isn't there.

"Get your hands off me —"

"If you touch her again," the man says, and his voice doesn't rise, doesn't shake, doesn't do any of the things a voice does when a man is bluffing, "prison will be the least of what happens to you."

Dean's face changes. I watch it happen — the practiced outrage draining out, something older and more animal rising underneath it. Whatever he sees in this man's eyes, it isn't money. It isn't status. It's something that has already calculated every way this could end and decided none of them are good for Dean Murray.

He stumbles back when he's released. Doesn't look at me. Doesn't look at the window. He walks fast toward his car, and for once in his life, Dean doesn't try to make it look like a choice.

The man doesn't watch him go.

He turns to me instead, and something in his whole posture shifts — the coiled precision of a second ago dissolving into something careful, almost tentative, like he's afraid of moving too fast near something that might shatter.

"Your wrist," he says, quiet now. Not a command. Barely even a question.

I look up at him — really look, past the coat, past the car, past the terrifying stillness he'd worn like armor thirty seconds ago — and something in my chest goes very cold and very strange, because I know this face. I know it from a screen, years ago, thinner, younger, a boy who used to type in careful, halting sentences at eleven at night because he couldn't sleep.

"Leif?" My voice comes out smaller than I mean it to.

He doesn't answer right away. He's looking at my wrist like it's the only thing in the world that matters right now.

"Yes," he finally says. "It's me."