ログインPOV: Vivian AshfordEthan books the rooftop without telling me what it is for, which should have been a signal, but Ethan takes me to dinner sometimes just because he knows I have not eaten properly and he is that kind of person, and I did not read the signal because I was not looking for it.The rooftop is beautiful. March in New York has finally decided to be almost spring, the kind of evening where the cold is thin enough that a coat handles it, and the city is doing its thing below us, and there are candles on the table and the skyline is glowing the way it does when the light is exactly right, and I sit down and I look at it and I think, for one genuinely good moment, that everything is going to be okay.Then I look at Ethan's face.He has the expression he gets when he has decided something and is going to say it and has been rehearsing how to say it, which is different from the journalist's face and the friend's face, more exposed than either."Ethan," I say."Let me say it," h
POV: Sienna RhodesI come back the next day.Helena doesn't seem surprised. She opens the door before I knock, which I have stopped finding unsettling about her, and she has tea already made and the grimoire is off its stand and on the worktable, which means she has been thinking about what I asked and has decided something."Sit down," she says.I sit.She goes to the worktable.She opens a drawer and she takes out a small knife, which is the kind of knife I recognize from my research, ceremonial but functional, and she looks at me."The grimoire is blood-locked," she says. "The Moreau family has kept it that way for four generations. It opens to the blood of the practitioner or the blood of the subject.""You don't have Chase's blood," I say."I took a sample the night I examined his hand," she says. "After the garden party. When he didn't feel the cuts."I sit with that.She touches the blade to her fingertip.A drop of blood falls on the cover of the grimoire.Nothing happens for
POV: Sienna RhodesThe address takes me three weeks to find.Not because Helena hides badly, but because she hides well, which is the distinction between someone who does not want to be found and someone who does not want to be found by people who do not know where to look. I know where to look because I have been looking at the edges of things my whole life, the peripheral, the almost-visible, the trail that exists if you are paying the right kind of attention.The church records are in the archives of a small Episcopal congregation in the West Village that has been keeping records of its congregation's affiliated community organizations since 1887, which is longer than most institutions bother, and which means that the Moreau family's connection to a specific study circle that met in the church's basement in the late nineties is documented in a membership ledger that no one has looked at in twenty years.The address in the ledger is not Helena's current address.But it is connected
POV: Vivian AshfordThe blogs give Elise the headline by Thursday morning.The Woman Who Tamed Sterling: Elise Vanderwood Is Everything Vivian Ashford Wasn't.I read it twice because I am apparently a person who reads things twice when they are designed to cause maximum damage, and then I put my phone in my trailer and I go to set and I ruin two takes of a scene I have been doing well for three weeks.The scene is the one where my character finally stops lying to herself about what she wants, which is the central scene of the film, which is the scene Andreou has been building toward since the first day of production, and I have been doing it well because I understand this character from the inside in a way I have not understood a character in a long time.Today I cannot find it."Again," Andreou says, from behind the monitor, in the patient tone of someone who has not yet decided to be impatient.I reset.I do it again.It is technically correct and completely empty, which is the spec
POV: Chase SterlingThe date is Dominic's idea, which I agreed to for reasons that made sense at two in the morning after reading the grimoire and which make less sense in the daylight but which I am committed to now.The restaurant is in the West Village, the kind of place that has a wait list and no sign outside and which is therefore exactly the kind of place paparazzi park outside, and I arranged the reservation myself, which tells me everything I need to know about what I am doing tonight.Elise is already seated when I arrive, which she arranged herself, which is the first interesting thing about her. Most people in her position would arrive second, would make the entrance, would let the room arrange itself around them. She is sitting with a glass of water and her phone face-down and an expression of someone who has been here long enough to be comfortable and is not performing the waiting.I sit down."You told them we were coming," she says, not a question."The reservation was
POV: Chase SterlingDominic's board events have a specific quality that his garden parties and his charity galas do not have, which is the quality of a room full of people who are there because they want something from Sterling Industries and are performing enthusiasm about the canapés while they wait to find out if they are going to get it.I go because not going would give Dominic a public narrative about instability in the current leadership that I cannot afford right now, which is the calculation that has been driving most of my professional decisions since the corruption files dropped three weeks ago.Dominic is already working the room when I arrive, which is the thing he does, and I accept champagne and begin the professional circuit, and I am twenty minutes in and thinking about leaving when Dominic appears at my elbow with a woman I don't recognize."Chase," he says, in the tone he uses for public performances of fatherhood. "There's someone I'd like you to meet."I turn.Eli
POV: Vivian AshfordI go to him two days later.Not because I planned to. I wake up on a Saturday morning and I lie in bed for an hour thinking about the rain and the blood on his face and the way he said please like it cost him something, and then I get up and I get dressed and I get in the car.H
POV: Vivian AshfordThe film gets a standing ovation and I cry in the bathroom afterward, which I will deny if anyone asks.It is the good kind of crying, the kind that happens when something you worked for actually lands the way you hoped it would, and I give myself three minutes with my back agai
POV: Vivian AshfordI find the photograph at seven in the morning with my first coffee, which is earlier than I usually check his name but which has been my habit since my mother told him about it and which I have not broken because breaking it would require admitting it exists in the first place.
POV: Vivian AshfordThe first time I see Chase Sterling sit on a floor, I almost drop the purple crayons.We are three weeks into the collaboration and the pediatric oncology ward has become, against every expectation I had going in, the part of my week I look forward to most. The children here hav







