The head teacher—Ms. Rivera, hair in a scarf patterned like a night sky—shakes my hand like she shakes everyone’s. It disarms me for a moment. I’m used to people greeting my name before they greet me.
“Liam is a joy,” she says as she leads me down a small hallway strung with paper snowflakes. “He thinks in pictures. He asks questions in threes. Trees, shadows, fairy tales—those are his axes. If you want him to do anything, put it in a story and he will carry it around all day.”
“Sounds familiar,” I say, and think of Aoife plating folklore.
She opens a door and there he is, in a small chair at a small table, tongue caught between his teeth as he tries to glue sequins to a cardboard moon. He looks up, sees me, and his whole body brightens like a lamp coming on.
“Da!”
It hits me in the sternum in a way I do not admit to anyone. I squat to him, the suit creasing, my hands out. “A laoich,” I say again, because the word feels like a blessing every time. “What do you have there?”
“A moon.” He tilts it so the sequins slide. “It needs more shiny.”
“You and me both,” I tell him, and Ms. Rivera laughs, surprised into it.
We talk about phonics and about a boy named Henry who keeps stealing crayons, about whether Liam can bring a dragon picture for the winter wall. “Dragons are winter animals,” Liam explains solemnly, “because their breath is steam,” and Ms. Rivera agrees with the seriousness I will fund forever.
Outside, the sky has gone the color of dirty cream. I stand under the eaves a moment, listening to the small chaos that lives inside a school. Then I call Tommy.
“Get me a clean car on the lane behind the school at pickup and drop-off,” I say. “Nobody obvious, nobody nervous. If the driver smiles at anyone I’ll find his teeth myself.”
Tommy snorts. “You’re funnier when you’re terrified.”
“I’m funnier when you do your job.”
“Done,” he says, and hangs up on a laugh that tells me he’ll kill someone for me by dinner.
By midafternoon the buttons are in. The wire runs like a vein from the pass to a silent box in Benny’s office and to a phone I’ll wear on my skin until this is finished. I test both and watch two men straighten in the alley outside like they’ve been plugged into the mains. We recalibrate the back camera live, Benny muttering about angles while I watch the monitor and imagine a girl’s last minutes cut into frames.
I should tell Aoife everything. I don’t. Instead I move the garnish fridge two inches so the new line of the camera can see behind it. I draft a closing checklist that reads like any other piece of restaurant ritual and hides four new steps in plain sight. I have learned that protection works best when nobody notices it’s there.
Night brings the weight I expect and the phone calls I don’t. A dishwasher at a rival place is sure he saw a woman in a red coat near the river. A bartender swears he found an ornament shapedlike a bell tied to his bicycle but can’t find it now. Rumors breed in fear like sourdough in a warm kitchen. I sift for yeast. I come up with air and a handful of something that might rise if I feed it.
I’m still on my feet by the time the restaurant’s closing check hits my phone—doors bolted. Staff walked to cars. Lights off in sequence like a lullaby. No button press. No missed call. I breathe for what feels like the first time since the alley.
Back home the house has gone quiet in the way old houses do when they approve of the night. I take the back stair to avoid waking ghosts and stop at Liam’s door. He’s in a heap of duvet and dinosaur, mouth open, hair like a storm. Aoife’s room across the hall has her door cracked and her lamp off. I can smell her shampoo in the corridor as if the house wants to keep the scent.
I should sleep. I don’t. I go to the study and pour something small into a glass and hold it without drinking it. I pull the ribbon from my pocket and lay it on the desk. It looks harmless there. It looks like restraint. It looks like a threat wearing perfume.
In that hush the phone buzzes once—Kieran again. “Got the traffic cam. Nothing worth a face,” he says. “But there’s a shadow on the brick at 01:10 that looks like a hood. Could be anyone. Could be none of us.”
“Keep pulling,” I tell him. “And Kieran—no noise. Whoever this is feeds on the sound.”
He grunts approval and hangs up. I stare at the ribbon until the room blurs, then put it in my coat pocket because objects sometimes behave if you keep them where they can feel skin.
The next day is the school meeting with the head of the trust, a dock schedule that wants to turn into a turf temper, and too many hours before I can stand in her kitchen again. I keep my voice level in a shipping dispute that would happily become war. I cut three words from a sentence and save a man’s hand fromgetting broken. Every decision feels heavier. I carry it because that’s what I was raised to do.
At midday I return to the restaurant. I stand in the doorway and watch her call the line like it’s a symphony she wrote and is hearing for the first time. She doesn’t look at me, not for the first three minutes, then she does—briefly, exactly long enough to acknowledge the weather system I carry—and the corner of her mouth tips. That small, private concession slides a hook through the middle of me.
She plates a dish and lets it sit an extra second to shine in the pass light, just to prove she can. “Two on table six,” she calls. “Mind the sauce. It’s not shy.”
I stay the length of three tickets and leave before I do something like kiss her in public.
By late afternoon, the second report comes. Another woman has been found, this one on the edge of Charlestown, and the ornament this time is a tiny silver wren again, same knot in the ribbon. It means the first wasn’t a copycat. It means we are being spoken to.
I gather the men in the long room off the east hall where strategy sticks to the plaster. Kieran, Tommy, Benny, two more I trust because I’ve watched them bleed and keep their mouths shut. The map of the city is spread on the table. I mark the three sites in black grease pencil, then connect them and hate the shape they make because it looks like a noose.
“Hospitality only,” I say. “Late shifts. Women who walk home or wait for rides. Killer leaves ornaments—wrens, silver, antique or a good copy—with red ribbon, same knot every time. They know tradition. They know how to move around cameras or they don’t care, which is rarer and worse.”
