MasukPOV: Vivian AshfordI am an actress.Which means I know how to research a role from the inside out, how to build a character from available evidence until the character becomes something you inhabit rather than perform. I have done it for every significant role I have taken and I am good at it and the specific skill set transfers, it turns out, to researching a curse.I spend three days at it.Not the sketchbooks and the archive copies that Sienna showed me, though I read those again more carefully. I go to the primary sources, the Sterling family history that is available through public records and society archives and the digitized collections of several Manhattan libraries, and I build a timeline going back four generations.The pattern emerges by the end of the first day.Not obviously. Not with a flashing sign. It surfaces the way the truth surfaces when you are reading carefully, incrementally, one document leading to another, and at some point you are standing back looking at w
POV: Sienna RhodesI have been waiting for this call.Not with dread, the way I wait for the bad visions. With the specific quality of someone who has been holding a heavy thing for a long time and has been told they will be able to put it down soon and is watching the moment approach."Come over," I say. "I'll show you."She arrives forty minutes later in jeans and a jacket and the expression of someone who has made a decision to be open to something and is not entirely comfortable with the openness but is committed to it anyway.I have Helena's notes on the table. Not the grimoire, Helena has not authorized that, but the written summary she gave me after our second meeting, the specific documented mechanics of the curse in Helena's own handwriting, which is precise and academic and reads like a case study.I also have the copies from the Ashworth archive. Beatrice Ashworth's journal entries, the ones I photographed on my phone during the library visit, which document the Moreau work
POV: Vivian AshfordI spend Saturday morning watching him.Not in person. On my laptop, in the Silver Lake apartment, with my coffee going cold beside me, pulling up every piece of footage I can find from the past ten months. Press interviews, red carpet moments, the Forbes interview, the clip from the board meeting hallway, the #SterlingBrothersWar footage from the office.I watch them in order.I watch them the way I watch footage of my own performances, which is analytically, the specific skill of someone who has been trained to read bodies and faces and the gap between what a person says and what a person means, and what I see when I apply that skill to Chase Sterling across ten months of public footage is something I have been too close to see before.He hurts after.Every single time.The Forbes interview, the pull quote moment, he is smooth and pleasant and the interviewer is charmed, and then there is a cut to him standing outside the building afterward and his face in the two
POV: Vivian AshfordI watch the hospital footage three times.Not the public footage, there is no public footage from inside the room, but the footage that exists in my memory, which I have been replaying since I got home last night with the specific quality of something you know you are going to be replaying for a long time.He said: I have loved you since the second semester of sophomore year.He said: I have not stopped for a single day since.He said: I don't know how to be this without hurting you.He said all of it with the flinch following each true thing, the physical cost of the spell making every honest sentence visible in his body, and I sat beside his bed and I held his hand and I watched it happen and I cried when he was asleep and I left before he woke up.And now I am on my couch in Silver Lake with my coffee and the ring on my finger and the footage playing in my head, and I am trying to figure out what to do with what I know.The problem is the following: he won't rem
POV: Vivian AshfordHelena calls me back within twenty minutes of Chase going quiet on the phone, which means she was monitoring, which means she knew this was going to happen and had contingencies in place, which is very Helena."He's all right," she says, before I can ask. "The spell's physical toll compounded with the curse's resistance. He needs medical attention and rest.""Hospital," I say."I've called an ambulance," she says. "Cedars has his records from the last visit.""I'm coming," I say.A pause. "Vivian. He won't remember what he said. When the spell ends, everything he said under it will feel like something that happened in a dream. He won't know he told you."I sit with that."I'm still coming," I say.He is in a room on the fourth floor when I arrive, pale and hooked to an IV with the monitors doing their work, and it is the second time I have sat beside a hospital bed of his making and both times feel nothing alike.The first time he was beside mine.This time the nur
POV: Chase SterlingHelena is furious.Not the quiet disappointed version of furious that she usually manages. The actual version, which I have seen exactly twice in my life, once when I was eight and broke something in her New Orleans kitchen that belonged to her grandmother, and once now, standing in my penthouse at nine in the morning with the Vegas photographs on every screen and her hands flat on my kitchen counter."The party," she says."I know," I say."You went to her bachelorette party," she says."I was at the hotel," I say."Chase.""I know," I say.She looks at me with the dark eyes and the silver-streaked hair and the twenty-three years of this specific exhaustion on her face, and then she does something I was not expecting, which is she reaches into the bag she carries and she takes out a small vial and she sets it on the kitchen counter between us.I look at it.Clear liquid. No label. The kind of container that could contain anything."What is that," I say."Something
POV: Vivian AshfordLos Angeles is exactly what I needed it to be, which is to say it is enormous and loud and full of people who are too busy becoming something to spend much time asking you what you left behind.My apartment is in Silver Lake, third floor, west-facing windows that catch the late
POV: Chase SterlingThe Sterling family attorney is a man named Gerald Foss, who has been handling this family's affairs for thirty-one years and has the carefully neutral expression of someone who has witnessed enough Sterling drama to have developed a professional immunity to all of it. He sits a
POV: Vivian AshfordI find out the same way everyone else does, which is the part that makes it unbearable.It's forty-eight hours after graduation and I'm sitting at Mara's kitchen table with a coffee I haven't touched, still running on the particular kind of adrenaline that comes from having your
POV: Helena MoreauThe jet lands at Teterboro at seven-fifteen on a Tuesday morning in November, which is not a dramatic hour for an arrival but which is the hour I chose because I have been planning this visit for three weeks and I wanted to arrive early enough to be in Manhattan before Chase's da







