Reid taps his tablet. “No outside stimuli. No perimeter breach. Just a bad night, and we had a new volunteer shadowing who froze.”
I look at the volunteer’s file. The photo is a kind-eyed graduate student who checked all the boxes on paper and obviously hasn’t learned yet that paper is a poor test of midnight. “Remove him from the floor for two weeks,” I tell Reid. “Pairhim with intake during daylight. He can come back to nights if Navarro signs off.”
“Copy.”
“And Rene?” I ask, turning back to Navarro.
“Stitches,” she says dryly. “He’ll be fine. He’s more embarrassed than hurt.”
“Have him sit with L. this afternoon,” I say. “Let her see him whole. No guilt spiral for what she can’t remember. We are here to help, not punish. If anyone wants retribution, they can go work in politics.”
A second of quiet. Navarro’s mouth twitches. Reid doesn’t smile at work.
We move down the agenda. I could do this for hours and often do. We talk budgets—two grants cleared, one hung up in committee language that smells like Caldwell’s staffers have been passing a pen back and forth. We talk about the medical board’s latest audit request, and I dictate the response with the tone I reserve for institutions that confuse oversight with theater. We talk about the missing volunteer out west—the one who stopped checking in, not a new story and never an easy one. We talk about the vetting backlog; I approve overtime. We talk about the pilot therapy wing that needs to go up before winter because the intake numbers are up and the sleeping porches won’t cut it when the ocean turns.
While Navarro walks through a new art-therapy protocol, my eyes drift, once, to the glass. In the far pane the garden’s wet leaves glow green in early light. My reflection is a ghost over spreadsheets. Somewhere down the corridor someone laughs—a resident who’s forgotten for a minute that forgetting is dangerous. My phone vibrates twice on the table—donor breakfast confirmations—then once more with Caldwell’s clip from last night, auto-transcribed. I don’t look at it. I know what he said. I was standing there while he said a version of it to myface and smiled for the cameras while I slid a knife between his ribs he won’t find until the headlines make it too late.
I keep my attention where it belongs. Work is how I regulate. After a lifetime of learning to triage, you don’t stop just because a chandelier threw light at your face and a senator tried to make you into a villain at open bar.
“Status on the youth relocation?” I ask.
Navarro glances at Reid, who has already pulled up a map. “Train rotation is on schedule,” Reid says. “No overlap in any of the station cameras. We’re using the church van for the last leg. It’s invisible and ugly, but it moves.”
“Ugly doesn’t get stolen,” I say. “Make sure they have the burner set ready in the glove box—two phones, three cards, cash, handwritten instructions. No QR codes. No assumptions about printers.”
Reid nods. “Already done.”
“Good,” I say. “Next.”
We work for another twenty minutes, long enough for the coffee to go from hopeful to resigned. I don’t sit. The body behaves better if it feels it has a task.
When we finish, I thank Navarro and tell her to go lie down for one hour. She grins without humor. “Yes, Dad,” she says.
“Don’t call me that in front of the board,” I say, and she laughs this time because she knows I don’t care what the board thinks as long as we do the work.
She and Reid gather their tablets. The door at the end of the room whispers. Through the glass I see her before either of them does: hair pinned up carelessly in a way that would destroy a stylist’s self-esteem, blazer over—my shirt—untucked at the cuff where she has pushed it back to her forearm. There is a ghost of last night’s lipstick if you know where to look and I always do. On instinct my chest takes that extra small breath youtake when the door to a room you want to be inside opens and nobody sees it but you.
She doesn’t knock. She pushes the door with her palm and steps through as if this is her house. I am not sure whether the heat in my spine at that fact is pride or a problem. Probably both.
“Dr. Navarro,” she says, polite, as if she hasn’t seen the woman kneel in front of a boy and teach him to breathe through the end of the world.
“Aurora,” Navarro says, neutral. Reid’s eyes flick to mine, a question he doesn’t voice. I tilt my chin toward the door. They both read me like a memo and file out without hurry, because nothing happens in this building that looks like panic on camera.
Aurora doesn’t move until the door closes. She looks at the table. She looks at the screens. She looks at me. The air takes on the quality of a held breath in a corridor where the fire doors have already shut.
“You’re busy,” she says flatly.
“Always,” I say, because it’s true and because if I say anything else right now I will say something that puts us back in a velvet room with an unlocked door.
She walks toward the end of the table where the case files are spread like a map turned into paper. Her hand drifts over the edge of a folder. She doesn’t open it. She looks at the redacted headers like you look at a photo that has been folded and unfolded so many times the crease has turned into its own kind of content.
“What are you hiding, Cassian?” she asks.
I could pretend not to understand. The room is full of things most people never get to know; it would be easy to gesture at the screens and talk about the importance of privacy and the ethics of care and the responsibility we have to people who did not choose to have their lives turned into a set of bullet points for my eyes. I could also tell her to go upstairs, paint, and leave therest to people who know what happens when the world breaks on a schedule and also on a Tuesday for no reason at all.
Instead I let the question sit, because I don’t want to disrespect her by deflecting when what she is offering me is the precision of her anger.
“These aren’t residencies,” she says, as if she can scrape truth off the top of the table if she drags her finger hard enough. “They’re hospitals you hid inside galleries. Or vaults that look like studios. You bring people here. You lock them away. You make them sign things so they can’t talk about it. And then you feed me apples in a room with a fireplace and call me your girlfriend while a man with a microphone tries to make you into a headline.” Her voice is steady until it isn’t. The last word shakes like a table leg that lost a screw. “Tell me what you really do.”
