I heard it on a Thursday night.
I'd gotten up for water around two, padding down the hallway in Mael's gray sweater and bare feet, half-asleep. The penthouse was dark except for the city light bleeding through the windows—that permanent amber glow that never fully goes away in Manhattan, like the sky can't quite commit to night.
I almost missed it.
A thin line of warm light under a door I'd never seen open. And through the gap, music.
I stopped.
It wasn't a song I knew. It didn't sound like anything I'd heard him play in the studio—no structure to it, no intent. Just a melody that wandered the way thoughts wander at two in the morning, finding its shape one note at a time. It rose and circled back and rose again, and there was something in it that made my chest ache in a way I couldn't name.
I stood in the hallway and didn't breathe.
Through the gap I could see one sliver of the room: the edge of a piano bench, the side of his shoulder, one hand on the keys. He wasn't reading anything. His head was tilted down, slightly. The way you tilt your head when you're listening to something nobody else can hear.
He had no idea I was there.
That was the thing. That was the part that undid me—not the music itself, though the music was beautiful. It was the privacy of it. This was not a man performing even for himself. This was just a man, alone at two in the morning, with a piano and whatever he was working through. Like breathing. Like something that had to happen whether anyone was watching or not.
I thought about the studio sessions. The way he sat behind the board like a wall—composed, exacting, giving nothing away. The way his face stayed still when I came back from crying in the bathroom. I had decided he was built from patience and control all the way down.
I was wrong. He was built from the same material as the rest of us. He'd just learned to keep the soft parts in rooms with the door mostly shut.
I backed away down the hallway without making a sound.
I didn't sleep after that. I lay in the dark and stared at the ceiling and thought about the way a single unguarded moment can rearrange everything.
---
The peonies appeared the following Monday.
I came into the kitchen in the morning and they were there on the counter—pale pink, full-blown, arranged in a low white vase like they'd always been exactly there. My heart did something complicated.
I stood and looked at them for a long time.
Mael was already at the studio end of the penthouse. The door was closed. I could hear the faint hiss of the board from the hallway.
I didn't ask. I made coffee. I touched one petal, once, and went to work.
The second Monday they appeared again.
Same vase. Same pale pink. Fresh-cut, the kind of fresh where the stems are still damp. I pulled one from the arrangement and held it in both hands and looked at it, really looked at it, and thought about all the times Damien had sent me flowers. Red roses, usually. Delivered by an assistant. The note always printed, never handwritten.
I had never once mentioned peonies to Damien. Not once in eight years.
I set the peony back in the vase.
I glanced at Mael's office door. Closed. A thin line of light at the bottom.
I didn't knock.
---
The third Monday, I was in the kitchen early.
Not on purpose. Or maybe on purpose. I had my coffee and the morning light was doing its thing through the floor-to-ceiling glass—going gold, going soft—and I was pretending to read something on my phone when the knock came at the service entrance.
The building concierge. A paper-wrapped bundle in his hands. He handed it to me without surprise, like he'd done this before. Because he had.
"Mr. Jacobs' standing order," he said. "Every Monday."
I stood in the doorway holding the peonies.
"How long?" I asked.
He thought about it. "Since February, I think. Maybe late January."
I thanked him. I closed the door.
I stood in the kitchen and unwrapped the paper slowly. The stems were cool and wet. The blooms were not yet fully open, just beginning—the way things are right before they become themselves completely.
February. Before I arrived. Before the Grammy night, before Nordstrom, before the bench in the cold with my mascara dry and nowhere to go. He had been placing this order before any of it happened.
Just in case.
I put the peonies in the vase. I arranged them slowly, the way you do when you want to give your hands something to do while your chest figures itself out.
From the studio, faint and far away, I heard the board come to life.
I stood at the counter a moment longer. My hand rested on the rim of the vase.
Then I went to go write something true.
