The Interview
Naomi Reyes had eleven dollars in her checking account and eleven days to save her mother's life.
Not literally. But close enough. The bank notice taped to the clinic door did not care about the difference between a heart attack and a foreclosure. Both could kill a person just as slowly.
She smoothed the front of her only blazer, the one without a coffee stain, and looked up at the glass tower that housed Cross Holdings. Fifty two floors of steel and money, and somewhere at the top of it sat the one man standing between her mother and the street.
She had told herself she would not be nervous. She had lied.
The elevator doors opened onto a floor so quiet it felt like a held breath. A receptionist waved her through a pair of double doors, and Naomi walked in still rehearsing the speech she had practiced that morning. She never got to say a word of it.
The man behind the desk did not look up right away. When he finally did, his eyes were the flat gray of a door someone had already decided to close.
You're late, Damon Cross said.
I'm early, Naomi said. By four minutes.
Then someone before you must have kept me waiting, and I've transferred my irritation to you. Sit down.
She sat. He slid her portfolio back across the desk with two fingers, like he had made up his mind before she walked in.
Your renderings are good. Ambitious. Expensive. I don't care about any of that. Can you take my grandfather's estate, condemned twice by the city, and open it to the public in four months without it collapsing on a paying customer. Yes or no.
"Yes," Naomi said, before she let herself think about how impossible that timeline actually was.
Something flickered behind his eyes, gone before she could name it. Good. Then we have a problem, because I don't hire architects who lie to get a job, and no honest person says yes to that without one condition.
Her pulse kicked up. This was the part where he threw her out. But instead of standing, he leaned back, and something close to respect crossed his face.
What's your condition.
She thought of the peeling paint on her mother's waiting room walls, the notice on the door, every firm that had turned her away this month because her name meant nothing anymore.
"Full creative control," she said. "No committee. No board sign off on every wall I move. You want four months, that's the only way it happens."
He studied her long enough that she started counting her own heartbeat. Then he reached for a pen, and for one unguarded second something almost gentle crossed his face before he shut it down again.
Fine. But if a single beam falls on my property, Miss Reyes, I will make sure you never draw another blueprint in this city again.
"Then I'll make sure nothing falls," she said, and meant it.
He pushed the contract across the desk. She signed without reading every line, because eleven days leaves no room for caution.
She was almost at the door when she saw it. A folder half buried under papers on the corner of his desk, a name on the tab that stopped her cold. Reyes Construction. Her father's company.
Then the photograph on the shelf behind him, angled away but not quite far enough. An older man in a hard hat, shaking hands in front of a building she recognized from childhood, before her father's company collapsed and he stopped coming home before dark. Beside him stood a much younger Damon Cross, wearing his exact gray eyes.
Her stomach dropped.
"Something wrong?" Damon asked, watching her too closely.
She forced a smile that felt like glass in her mouth. "No. Nothing at all."
She left before her hands could start shaking, before he could see that the man in that photo, the one whose signature was on the papers that buried her father's company and, three months later, buried her father, had raised the man she had just signed a four month contract with.
She had just handed her future to the son of the man who destroyed her family.
And the folder with her father's name on it was still sitting open on his desk.
He had known exactly who she was before she ever walked in.