#graveyard shift

[deadlyr0s3]

[bl00dfroma-fairy]

[charnel-grounds]

Luis Perez Banus, “Graveyard Shift”

ink on paper, 2025

[belimah]

〜 GRAVEYARD SHIFT pt. 1

sum. You are new to this big city, having come from a small town and managed to score a job at one of the most popular restaurant in the area, Malevolent Shrine, you don’t really see it coming when you end up falling head over heels for the head chef.

cw. implied cannibalism, implied murder, person gone missing, kitchen shenanigans, pining, car sex, kirara is your roommate, she rocks btw, medium to rare burn bc slow burn needs more words, enjoy this request ♥

art. @/k4rn1v0r3 | Part 2

The city teaches you to be lonely in public.

It is one of the first things you learn after moving in, before you learn the train lines properly, before you learn which grocery store marks down bread after nine, before you learn that people here do not look at each other unless they want something or unless they are being rude.

Back home, silence belongs to empty roads, closed windows, cicadas in summer, your mother washing rice in the kitchen with the faucet running soft. Here, silence belongs inside noise. It sits with you on crowded buses, in elevators full of strangers, in laundromats where someone’s sock sticks to the inside of a dryer while fluorescent lights make everyone look a little sick.

You arrive with the unreasonable belief that being good at things should eventually become useful.

That belief does not die quickly — it thins, first. It becomes tired around the edges.

You are not stupid. That is the thing that makes the beginning of your life here feel almost embarrassing.

You had been the bright girl, the diligent girl, the girl teachers used as an example when they wanted to shame the boys in the back row for not turning in their assignments.

You had been a little strange, perhaps, but in an acceptable way. Quiet enough to be called sweet, thoughtful enough to be called mature, serious enough that adults felt safe placing expectations on your shoulders.

You learn the shape of hunger long before you learn the shape of wanting.

Not the kind that empties a person until there is nothing left but desperation.

Your hunger is quieter, more domestic, almost polite. It sat with you at the kitchen table in the small town where everyone knows your mother’s name, your father’s old car, the street where you live, the school where you were good at everything because there was so little else to be.

You grew up surrounded by fields that are not pretty enough to be postcard fields, roads that end too quickly, shops that close before evening has a chance to become anything interesting. People there get married young, stay near their parents, work the jobs someone else in the family worked before them. They know who kissed whom behind the church, who drank too much at a birthday party, who left and came back because leaving is difficult when the world outside has teeth.

You were not unhappy there, exactly. That is the thing you struggle to explain later when people in the city assume you came from some suffocating place with nothing but judgment and boredom.

Your town is boring, yes, but boredom is not always cruelty. There are women who press food into your hands when you visit their houses, men who fix leaking roofs without asking for payment until weeks later, teachers who stay after class because they think you are clever enough to deserve more than the worksheets everyone else groans over.

You are loved in a wide, distant way. Known. Watched. Expected.

But your small town had not given you much to do.

There had been school, your family, the one bakery with coffee too bitter for your liking, the library that smelled of paper dust and rainwater on humid days.

There had been neighbors who knew your mother’s name, your grandmother’s old recipes, the exact year your father repainted the front gate.

There had been your room, with its narrow bed and the desk where you studied until your eyes burned because achievement felt like the only door visible from where you stood.

And because there is nothing else to do with your restlessness, you study.

You study like if you put enough effort into it, something will open. You memorize formulas, dates, grammar rules, names of organs, names of poets, names of countries you cannot imagine yourself ever seeing. You write essays no one asked to be that good. You win small awards your school prints on paper too thin to feel official.

Your teachers tell you that you are bright.

Your parents tell you they are proud.

Neighbors ask what you want to be, and every time you answer, you choose something that sounds impressive enough to justify the way everyone looks at you.

You want to be somewhere else.

You think there is a version of you that can breathe better where the streets don’t recognize your footsteps.

You had thought excellence would open into something large.

Instead, excellence opens into a cramped apartment downtown, a job application accepted by one of the most famous restaurants in the area, and the discovery that you can be clever, educated, and hardworking while still carrying plates to tables for people who do not look at your face.

By then, the city has already humbled you in a dozen small ways. You arrive with two suitcases, too many books, carefully saved money, and the kind of optimism that feels sensible only before rent takes its first bite.

Downtown is louder than you expect. The sidewalks are crowded and impatient. People walk like they have been sent somewhere by a god with poor manners. Trains swallow whole crowds and spit them back out under streets full of restaurants, convenience stores, office towers, bars with black doors, cafés where a single dessert costs what you used to spend on dinner.

Malevolent Shrine is nothing like the places you grew up around.

The first time you stand across the street from it, looking up at the black frontage and the deep red lettering above the door, you almost turn around and walk back to the station. Not because it looks cheap or dangerous. It is the opposite. It looks too expensive to approach.

The entrance is narrow, almost discreet, tucked between two brighter businesses as if it does not need to announce itself. The windows are darkened, reflecting the street back in fragments. At night, the sign glows with a restrained, blood-warm color that makes the pavement look wet even when it has not rained.

You arrive twenty minutes early to your interview, sweat cooling between your shoulder blades despite the mild weather. You wear the best blouse you own, the one your mother ironed before folding into your suitcase, and you keep checking the cuffs as if wrinkles might appear from nervousness alone. You expect someone elegant and kind at the front.

You get Uraume.

They are pale, composed, and beautiful in a way that does not invite comment. Their hair is neat, their expression still, their voice so level that you find yourself straightening before they even finish asking your name. They look at your résumé, at your hands, at your shoes, at your face. You feel examined in pieces.

“You have no restaurant experience,” they say.

“No,” you admit. “Not formally. But I learn quickly.”

Their eyes lift from the page.

Everyone says that, their silence seems to tell you.

So you do what you have always done when frightened — you become honest in a way that sounds almost rehearsed because you have spent so many years thinking before speaking.

“I know it is not glamorous to say I am hardworking. Everyone says that as well. But I am. I pay attention, I remember details, I don’t mind being corrected, and I can stay calm when I’m overwhelmed. I understand this is a famous restaurant and that I probably look like a risk.” You swallow, hands folded over your lap to keep them still. “I would like the chance to become less of one.”

Uraume looks at you for long enough that your confidence begins to feel like something you should apologize for.

Then, from somewhere behind the swinging kitchen doors, someone laughs.

Not loudly or warmly, It is a short, low sound, amused without being any friendly.

The doors open.

That is the first time you see Ryomen Sukuna.

You know his name already, of course. Everyone knows his name if they know anything about restaurants in this part of the city. He is the head chef and owner, though people argue over which title matters more. He has money, awards, enemies, admirers, rumors. There are articles about his cruelty in the kitchen and his genius on the plate. There are interviews where he refuses to pretend humility. There are photos of him standing in white chef’s coats with dark tattoos visible at his wrists and collar, his hair a soft, unnatural pink that should look ridiculous and somehow does not.

None of those photos prepare you for the weight of him in the room.

He is tall, broad in that way that makes the doorway seem suddenly modest, and he carries himself like someone who has never needed to ask permission to occupy space. His uniform is clean, sleeves pushed up, showing bands of ink around his forearms. There are sharp lines near his face, markings you first think must be tattoos and then cannot stop staring at because they make his expression look even more severe. His eyes are not gentle. That is your first thought.

Not that he is handsome, not that he is intimidating, not that he is famous.

His eyes are not gentle.

Then your second thought arrives, stupid and immediate.

He is the most beautiful man you have ever seen.

“Less of a risk,” he repeats, leaning one shoulder against the doorframe. “That was good.”

Your face heats.

You are not sure if he is mocking you.

Uraume does not look back at him.

“She has no experience.”

“She has a spine. Experience can be beaten into people.”

You sit very still, unsure whether that is a joke, a warning, or the culture of fine dining revealing itself in its purest form.

Sukuna’s gaze drops to your résumé.

“Small town.”

“Yes, Chef.”

The title leaves your mouth because everyone in the building seems to orbit that word. Chef. Not sir, not Mr. Ryomen, not Sukuna. Chef.

His eyes return to you, and your stomach tightens in a way you do not yet know how to name. But it feels like nausea.

“You’ll cry,” he deadpans.

You blink.

He says it as plainly as someone commenting on the weather. Not cruelly, exactly. Not kindly either.

You think of your mother standing outside the bus station pretending not to cry until you were already on the steps. You think of the hours you spent studying when your classmates went out together, the ache in your wrists, the light over your old desk flickering when storms passed over the town. You think of being lonely before the city ever gave you a word for it.

“I might,” you say. “But I’ll try not to do it where customers can see.”

For the first time, Sukuna looks directly interested.

His mouth curves slightly. It is not a smile you would call reassuring.

“Hire her,” he tells Uraume, and disappears back into the kitchen.

That is how you begin.

On your first day, Uraume looks you up and down and decides nothing aloud.

You later learn they are the sous chef, but during that first trial, they feel less like a person in a job position and more like the embodiment of a standard you have not yet earned the right to understand.

“You will observe first,” they tell you. “Then you will carry water, clear plates, and stay out of the kitchen’s path. If someone tells you to move, you move. If someone asks you a question you cannot answer, you do not improvise. You find someone who knows. Confidence without competence is expensive here.”

You nod so earnestly your neck feels stiff.

You meet Sukuna again halfway through that first shift.

Not properly. Not enough to count. You are carrying a tray of empty glasses back from a table near the window when the kitchen doors swing open and the sound changes. That is the first thing you notice now that there are people, there is food, there is actual sound surrounding you. Not him. The sound. Before that, the restaurant has been alive with a kind of organized pressure — cutlery, footsteps, low voices, the whisper of wine pouring, the muffled heat of the kitchen. Then he steps out, and it feels like everything adjusts around him without being asked.

His expression is impatient, not theatrically angry, just sharpened by a permanent refusal to tolerate anything unnecessary.

A customer at table seven has asked for him. Someone wealthy, you assume. Someone with a watch so thin and bright it looks like a threat to anyone less wealthy. Probably costs you more than your parents’ house.

Sukuna listens to the compliment with a still face. The man praises the texture of the fish, the restraint in the broth, the balance of acidity. You understand perhaps a third of what he says. Sukuna does not smile until the very end, and even then it is small, crooked, edged with something you cannot name.

“Good,” he says. “You paid attention this time.”

The customer laughs like he has been blessed.

You stare for one second too long and nearly walk into another server.

That is the first embarrassing thing.

The second happens two weeks later, when he glances at you during dinner service and you forget which table ordered the pear dessert and which table needed the sesame custard.

The third happens when you mispronounce the name of a sake because he is standing within hearing distance, and one of the senior waiters gives you a look so wounded you feel as though you have personally damaged the reputation of fermented rice.

For the first several months, you are terrible.

Not hopeless. Never hopeless, thanks gods. But inexperienced in humiliating, visible ways.

You underestimate how heavy trays become after several hours. You do not know how to move through the dining room without either rushing or hesitating. You forget which side to serve from when a customer asks you a question mid-motion. You mispronounce the name of a wine this time and hear one of the senior waiters make a small, disgusted sound behind you. You learn that good service is not merely smiling and being polite. It is timing, posture, memory, invisibility. It is knowing when to appear at a table and when to vanish. It is hearing a change in tone from ten steps away. It is never letting your panic make contact with the guest.

You cry twice in the staff bathroom during the first week.

Once because a customer snaps at you for bringing the wrong fork, and once because Uraume tells you, with terrifying calm, that if you cannot carry three plates without your wrist shaking then perhaps you should find a job where trembling is less inconvenient.

You do not quit.

Maybe because you cannot afford to. Maybe because pride roots itself in you before despair can pull it out. Maybe because every time you consider leaving, you catch a glimpse of Sukuna through the pass, his concentration sharp enough to change the air around him, and you feel something in yourself lift toward him like a plant toward light it does not understand.

By your second month, you understand that Sukuna is not simply the head chef. He is the center of the restaurant’s gravity. Malevolent Shrine has owners, investors, managers with polished shoes and carefully neutral emails, but Sukuna is the reason people book months ahead and pretend they are not nervous when he steps into the dining room. He is the reason critics write sentences that sound almost embarrassed by their own admiration. He is the reason certain guests request private seatings and pay amounts you cannot fit comfortably inside your imagination.

He is not kind in the kitchen.

He cuts through mistakes with a voice that leaves no room for defense. He does not shout all the time, which makes it worse when he does. His anger is precise. If a sauce breaks, if a garnish is misplaced, if a steak comes back because a customer claims medium rare means something it does not, his irritation settles over the staff like heat from an open flame. People move faster around him. They think harder.

They become better or they leave.

You rarely speak to him directly.

In the beginning, he is simply a force behind the doors. A voice. A shoulder passing your peripheral vision. A hand placing a finished plate on the pass with absolute control. A profile bent over tweezers, arranging something so delicate that your breath catches despite yourself.

He does not need to look at you to ruin your concentration. The first time he does, you forget the table number attached to the order in your hand and deliver wagyu tartare to a woman who ordered sea bream.

The correction is immediate.

Uraume turns their head slowly.

You feel your soul leave your body before they even speak.

Afterward, one of the line cooks mutters that you should keep your crush outside the dining room. You want to deny it. You want to be offended. Instead, you spend the next ten minutes furious because apparently you are not only transparent, but incompetent about it.

He is also, most of the time, impossible to reach.

He does not chat. He does not linger near the staff lockers. He does not laugh with the line cooks unless the laugh is at someone’s expense, and even then it is brief. In the kitchen, his voice cuts through noise without needing to rise much. He notices everything. A smudge on a plate. A sauce held too long. A hand moving without purpose. A garnish placed a few millimeters off. You see trained chefs go quiet under one look from him, not because he screams, but because his disappointment seems worse than screaming.

You should find him unpleasant.

Sometimes you do.

That is the worst part.

You know he is severe. You know he is arrogant. You know that when someone makes a mistake, his patience is less a virtue and more a resource he has chosen not to stock. Once, during your first year, a commis drops a tray of cleaned bones for stock, and Sukuna closes his eyes for one slow breath before saying, “If your hands are decorative, leave them at home.”

The commis looks ready to cry. You feel awful for him. You also think about that sentence for three days.

It is infuriating.

Your crush, now that you accept what it is, is not immediate, it just grows through details you collect against your will.

The way he checks every knife before service, not with fussiness but familiarity, as if each blade is a language he speaks fluently. The way he tastes sauce with his whole attention, expression shifting by such small degrees that you start learning his satisfaction by the set of his mouth. The way he steps aside for Uraume without looking, trusting them so completely they move around each other like weather patterns. The way he can be brutal about a dish and still fix it with his own hands rather than discard the person who made the mistake, if he thinks they are capable of learning.

You notice his competence first. Then his hands. Then his voice. Then, unfortunately, the rest of him.

You hate yourself a little for it, in the mild humiliating way a person hates herself when she becomes predictable.

You are better than that.

So you become better.

It is not romantic, the work of becoming competent. It is ugly and repetitive and boring.

You go home with sore feet and practice balancing books on a tray while Kirara sits on the couch painting her toenails and offering commentary as if watching a sports match.

“Your wrist is doing that sad little bird thing again,” she says one night, chin propped on her hand.

You glare at the stack of books wobbling on the tray.

“My wrist is not sad.”

“It’s emotionally devastated. And trembling.”

“Kirara.”

“I’m helping you, girl!”

You share the apartment with her because the rent is survivable only when split between two people and because, during your first viewing, she looked you over and said, “You seem like you won’t steal my clothes or bring weird men here,” which had felt like a character endorsement in the city.

Kirara is all brightness at first glance — glossy hair, pretty nails, lashes done with the seriousness of architecture, clothes that make casual look intentional. She is also sharper than people expect. She reads moods quickly, notices when you have not eaten properly, and has a way of turning gossip into analysis. She never pushes into your business with both hands, but she taps on the door often enough that you eventually open it.

Her boyfriend, Hakari, is less subtle.

The first time he comes over, he brings convenience-store pudding, calls you “roomie” within ten minutes, and nearly breaks the loose handle on the bathroom door because he assumes everything in life can withstand his strength and enthusiasm. He is loud, shameless, and impossible to ignore. You expect to dislike him. Sometimes you do, especially when he and Kirara laugh too loudly through the thin wall between your rooms or when he leaves his shoes in the path where you will definitely trip over them before your morning shift.

But he treats Kirara like she is precious in a way that slowly disarms you.

Not fragile. Precious. There is a difference.

He looks at her when she speaks even if she is only complaining about a broken nail. He brings her snacks she mentioned once two weeks earlier. He lets her fuss with his hair and grumbles dramatically while lowering his head to make it easier. When she walks into the room, his attention shifts before his face does, like some part of him knows where she is without needing to check.

You find it cute.

Then you find it unbearable, but only because it makes you want something.

You do not tell Kirara about Sukuna at first. She figures it out by herself.

“You get weird when you mention your chef,” she says one night.

You are sitting on the floor between her knees, an old towel around your shoulders while she works cream into your hair with careful fingers. Your face is shiny with moisturizer she insisted would save you from looking “chronically under-watered,” and one of your hands is held awkwardly in front of you because your nails are drying.

“I don’t get weird…”

“You absolutely get weird. You say Chef Sukuna like you’re trying to sound normal about it.”

“I am normal about it!” you insist through gritted teeth, both of you know it’s a lie.

Kirara hums.

It is the kind of hum that makes denial feel childish.

Hakari is not there that night, which is the only reason you allow yourself to sink into the softness of the evening without guarding your face too much. Kirara has music playing low from her phone. The apartment smells like hair cream, acetone, and the vanilla candle she bought because the packaging was cute. Outside, you hear someone arguing on the street and a motorcycle passing too fast, engine snarling between buildings.

You glance toward the window, then down at your wet nails.

“He is successful,” you say, because it feels safer than handsome. “And talented.”

“Successful,” Kirara repeats, amused. “That’s where we’re starting?”

“I didn’t say anything.”

“You’re thinking plenty.”

You bite the inside of your cheek. Your reflection in the dark television screen looks strange, face glossy, hair divided into sections by Kirara’s hands. You look younger like this. Softer. More like the girl who arrived in the city with too much hope packed between folded clothes.

“I don’t think he knows I exist beyond being part of the staff.”

“He knows.”

“He knows my employment file exists.”

“That’s still a form of knowing.”

You laugh despite yourself, and Kirara smiles, pleased to have loosened something in you. For a while, she says nothing. She massages your scalp with slow, expert motions, and you close your eyes because you cannot remember the last time someone took care of you without making it feel like a favor you would need to repay.

Then she says,

“I used to think Hakari didn’t know I existed either.”

Your eyes open.

“You?”

“Me.”

“That seems impossible.”

“It wasn’t.” Her voice shifts, still light, but less performative. “I was a sophomore at his college. Different department, same campus. I saw him around all the time.”

You tilt your head carefully so you do not ruin her work.

“You mean because you didn’t look like this yet?”

She laughs, bright and bubbly.

“What do you mean, this?”

You gesture vaguely with your free hand, forgetting about your nails until she gasps and catches your wrist.

“Careful, princess, I just painted those.”

“Sorry.” You hold your fingers stiffly again. “I mean… I don’t know. Your hair? Your clothes? Your…” You look down at your own chest, then back up, immediately embarrassed. “Body?”

Kirara’s grin turns mischievous.

“Are you asking if I didn’t have big boobs?”

Your face burns.

“No. Maybe. I don’t know. You said he didn’t notice you!”

She pokes your cheek with one cream-slick finger.

“You’re cute when your small-town brain starts buffering.”

“That is rude.”

“It’s affectionate.” She smooths more product over a section of your hair, then says, almost casually, “I looked like a little boy.”

You try to imagine it.

You genuinely try.

You look at Kirara, at her pretty face, at the curve of her mouth, at the comfortable femininity in the way she sits and moves and takes up space. You picture a boy because she gave you the word, but the image refuses to settle properly.

It feels like imagining a bird as a stone.

“I find that hard to see,” you admit. “You look like a princess. Or an actress in a drama. One of those women who walks in during episode three and makes the main character reconsider his entire life.”

Kirara laughs so hard she has to lean back.

“Oh my god. I’m keeping that one.”

“It’s true.”

Her fingers are gentle when she parts sections near your scalp.

“Hakari was impossible in college,” she says. “I mean, he is impossible now, but back then he was worse. Thought he knew everything. Picked fights with professors, picked fights with guys twice his size, somehow passed classes through pure audacity and spite.”

“That sounds exactly like him,” you say.

“It is exactly like him. But he was also…” She pauses, smiling to herself. “He was kinder than he wanted people to know. Not nice. Nice is different. But kind, when it mattered.”

You look at her in the mirror propped against the coffee table. Her face is bare except for moisturizer, her hair clipped back, her expression softer than usual.

“I had the most embarrassing crush on him.” She laughs, and there is no shame in it now, only fondness. “But yeah, he didn’t notice me at first. Not like that.”

You frown.

“I can’t imagine him not noticing you. You’re, like, impossible not to notice.” you repeat yourself, you would notice someone like Kirara from miles away back in your hometown. Even in the big city she is simply too bright not to be seen. Like a little giggly star.

“I didn’t just look like a little boy,” she says after a moment, softer. “I was a little boy... In all the ways people cared about.”

Your thoughts slow down.

You do not understand at once. You almost do, then the thought slides away because Kirara is Kirara, with her pretty lashes and soft mouth and the careless confidence of someone who knows exactly how to tilt her chin in photos. She watches the idea move across your face, patient in a way that makes your chest tighten. You understand the words. Kind of. But they enter you and need time to find a place among what you know, what you have assumed, what you have never had reason to examine.

Kirara waits. She does not rush to rescue you from the pause. Her hands continue moving through your hair, gentle and patient, as if she has offered you something fragile and trusts you not to drop it.

Then it settles.

“Oh,” you say quietly.

Her expression warms.

“There it is.”

“You’re…” You stop, afraid of choosing the wrong phrasing.

“A trans girl,” she says like she’s offering you a cup of tea, saving you without making you feel foolish. “I transitioned during college. Slowly, messily, with a lot of bad eyeliner and worse decisions. Hakari knew me before. He used to tease me sometimes because I was always hovering around him like a needy little stray with a crush.”

“He teased you?”

“Not cruelly.” She thinks about it. “Well, sometimes stupidly. He had friends then who were worse for him than he realized. They thought everything was funny if it made someone else smaller. Hakari could have become a complete asshole if he had kept trying to impress them.”

“But he didn’t?”

“No.” Her face changes when she says it, warmth entering her expression in a way so private you almost look away. “He changed too. Dyed his hair. Got louder in better ways and quieter in the places that mattered. Stopped hanging out with men who needed someone beneath them to feel tall. By the time I understood myself enough to say I was a woman, I was also tired of pretending I didn’t love him.”

Your throat tightens.

Kirara sees it instantly.

“Don’t start.”

“I’m not.”

“You are.”

“I’m listening.”

“With wet eyes!”

You blink quickly, which does not help.

“Sorry.”

She laughs, but there is no mockery in it.

“He accepted me. That’s all. I confessed, and I was terrified because I thought he would be kind in that awful pitying way people get when they reject you but still want to feel like good people.”

You know that kind of kindness. It exists in small towns too. Especially there.

“But he didn’t?”

“He kissed me like I was the most gorgeous woman he had ever seen. Then he asked if I wanted dinner or if I needed five minutes to panic first.”

You press the back of your hand to your mouth.

Kirara groans.

“You’re actually crying.”

“That’s beautiful.” you sniffle and try to keep some dignity.

“It was chaotic.”

“That can still be beautiful!”

She sighs dramatically, then pokes both of your sides with her nails until you squirm and laugh through the tears.

“You have such a soft heart. It’s dangerous.”

“I’m not that soft.”

“You cried because my boyfriend wasn’t transphobic.”

“I cried because you were loved properly.”

That makes her quiet.

For a few seconds, the apartment feels smaller, warmer. Kirara’s fingers rest in your hair. When she speaks again, there is less glitter in her voice and more sincerity.

“You’ll have that too.”

You look down at your drying nails.

“I don’t know.”

“I do. Maybe not with one of Hakari’s friends, because most of them are losers with good hearts and bad impulse control, and I see you with someone who has his life together enough to spoil you properly.”

You laugh.

“Spoil me?”

“Yes. Treat you well. Buy you things without making it weird. Make sure you’re safe. Look at you like you’re not a backup plan.”

You think of Sukuna so abruptly it feels like getting caught doing something private.

Successful, yes. Steady, maybe. Spoiling anyone, impossible to imagine.

Still, your mind gives him to you in pieces — the black tattoos, the severe mouth, the rolled sleeves of his chef jacket, the way his attention feels like heat from an oven when it lands too close.

You do not know anything about the private shape of him. But you think of his hands placing plates beneath the pass lights. His voice correcting a cook before the mistake can reach a guest. The clean line of his jaw when he tastes something and decides, instantly, whether it deserves to exist.

You think of what it must feel like to have that focus turned on you not as an employee who has made a mistake, but as a woman.

Kirara’s reflection catches your expression.

“There is someone.”

“There isn’t.”

“You looked away too fast.”

“There isn’t,” you repeat, but your voice is too careful.

She smiles as if she has all the time in the world. When you think you’re safe after a few seconds, you sigh a little bit too dreamily and she buries the blade.

“Oh, I know who it is,” she says. “Chef Successful, right?”

You hide your face in your hand and nearly smudge your nails again.

After that, Sukuna becomes less a crush and more a project you pretend is self-improvement.

It begins with practical reasons. If you are going to continue working at Malevolent Shrine, you should be excellent. Not decent, not acceptable, not the small-town girl everyone expected to wash out after three months.

Ex-cel-fucking-lent.

It takes longer than you want.

Your first year is full of corrections. Your second is full of determination sharpened by embarrassment. You hate making mistakes, but more than that, you hate making mistakes in front of Sukuna. He is rarely in the dining room, but his presence reaches anyway.

Every dish that leaves the kitchen carries his name even when someone else cooked part of it. Every guest who praises the restaurant is praising him. Every error feels like a stain you have dragged across something he made.

It is silly. You know it is silly. It is a waitress job.

Not silly in the sense that it is easy, because it is not easy, and anyone who says service work is easy deserves to be made responsible for a fully booked dinner with three dietary restrictions per table and a man who snaps his fingers for water. But silly in the sense that this is not what you imagined when you studied until your eyes burned in your tiny childhood bedroom. You did not imagine standing beside a table explaining the difference between two mineral waters to a woman wearing earrings worth more than your hometown’s entire library budget.

For a while, that thought humiliates you.

Then it begins to harden into something else.

You learn wine first because it frightens you most. The names feel endless, the regions tangled, the vocabulary both precise and ridiculous. Mineral, tannic, buttery, flinty, jammy, structured. You study at the kitchen table while Kirara watches shows beside you, repeating words under your breath until Hakari wanders in, reads over your shoulder, and says,

“If someone told me my drink had a ‘long finish,’ I’d ask if it was threatening me.”

You throw a pen at him.

Still, you learn.

You learn which sake suits delicate fish, which red can stand beside charred meat without bullying it, which sweet wine does not make dessert cloying. You ask questions of the sommelier until he stops sighing and starts answering properly. You memorize the menu even when it changes by season, by shipment, by Sukuna’s mood.

You learn the language of allergies, substitutions, pacing. You learn when a guest wants warmth and when they want invisibility.

You learn how to apologize without sounding submissive and how to refuse without sounding rude.

You study wine pairings on your days off, first from free videos and library books, then from one of the senior waiters who realizes you are serious and begins quizzing you during staff meals. You learn how to read a table before approaching it, how to hear impatience in the way someone places a glass down, how to soothe dissatisfaction before it hardens into complaint.

You learn that rich people are not all the same.

Some are gracious because they have never needed to fight for anything and can afford ease. Some are cruel because they believe money grants them a private weather system. Some are nervous, newly wealthy, terrified of revealing ignorance. Some are bored enough to invent problems. Some barely speak but leave tips that pay for your groceries for a week.

You learn to serve all of them without letting your face reveal your opinion.

You stop mixing orders.

At first, the staff notices with surprise. Then with relief. Then not at all, which is how you know competence has become expected. You do not want applause for doing your job. You want trust. Trust is quieter, more durable. Trust means Uraume tells you to handle the anniversary table near the window because the couple likes you. Trust means the bartender asks your opinion when a guest wants something “interesting but not sweet,” because you will not panic and suggest nonsense. Trust means, eventually, Sukuna says your name during service.

Not girl. Not waitress. Not you.

Your name.

“Take this to table six,” he says, setting down a plate with a precision that makes the sauce look painted. “And tell the man in the gray suit that if he wants the fish cooked further, he should order something else next time.”

You stare at him.

His eyes flick to yours.

“Did you forget how to walk?”

“No, Chef.”

“Then move.”

You do, heart pounding so hard it feels ridiculous.

That night, you tell Kirara he knows your name and it makes you feel fifteen again. She looks at you like she wants to both congratulate you and shake you by the shoulders.

“After two years?”

“Two and a half!”

“That’s... worse.”

“It’s not worse. It means something.”

“It means your standards for male attention are underground.”

You throw a cushion at her. She catches it.

Still, something changes.

Not with Sukuna, perhaps. With you. You begin to understand that wanting to be seen by someone like him is dangerous not because he is your boss, though that would be reason enough for a sensible person, but because he is too easy to turn into a symbol.

If he notices you, then you are no longer foolish for coming here.

If he approves of your work, then all the effort means something.

If a man like that, exacting and impossible, looks at you and decides you are worth time, then perhaps you have become someone impressive after all.

You try not to make him responsible for that.

You fail in private.

Your life finds a rhythm. Not an easy one, but one that belongs to you.

You work too much. You learn the city by necessity — which train exits flood during rain, which convenience store sells the cheapest decent coffee, which streets feel safe at midnight and which ones make your shoulders creep upward. You learn how to carry yourself so men do not assume your politeness is an invitation. You learn that homesickness comes at odd times, not when you expect it.

Sometimes it hits in the produce section because the tomatoes look wrong. Sometimes when you smell laundry drying in the sun. Sometimes when you hear an older woman call for her daughter in a tone so familiar it hurts.

The apartment with Kirara becomes home in a way you do not notice until it is already true. Her products slowly conquer the bathroom shelf. Your books stack in the living room. Hakari’s spare charger appears beside the couch and never leaves. You start keeping snacks he likes in the cabinet because he eats like a raccoon with a bank account, and Kirara kisses your cheek the first time she notices.

Your third year in the Malevolent Shrine, you stop mixing up orders entirely.

Your fourth, customers begin asking for you.

Not many at first. A couple who likes your recommendations. An older woman who says you do not hover. A quiet businessman who tips well because you remember he prefers his water without ice.

Then more. Enough that your manager notices. Enough that Uraume’s gaze lingers on you one evening after service, assessing not your uniform or posture, but you.

“You have improved,” they say.

The praise is so unexpected you almost look behind yourself.

“Thank you,” you answer, managing not to sound as needy for approval as you feel.

They nod once and return to their clipboard.

You carry that nod home like a medal.

Sukuna notices too, though you do not know that at first.

You catch his attention in fragments. A glance from the kitchen pass when you correct a junior server before an order can go wrong. A brief pause when you recommend a wine and the sommelier later agrees with your choice. The faintest curve of his mouth when a rude guest tries to corner you into admitting ignorance about an ingredient and you answer so cleanly the man looks disappointed.

He never praises you directly.

That would be too much to survive anyway.

Malevolent Shrine has two lives.

The first belongs to the public — dinner service, reviews, seasonal menus, regulars who want to be recognized but not fussed over, tourists who book months ahead and arrive with shining eyes.

The second life is something you only hear about in fragments.

The VIP dinners. Graveyard shifts. Private tastings. Events that begin after the last public guests leave and end before dawn spreads across the windows.

Only one waitress works those dinners.

Her name is Reina, and she has been at the restaurant longer than you. She is elegant, quiet, and impossible to rattle. You admire her with the same distant ache you once reserved for actresses on television. She can carry a tray of crystal glasses through a narrow gap without touching a chair. She knows when to laugh at a guest’s joke and when to merely smile. Sukuna trusts her.

You envy that trust more than you envy the tips, though everyone knows the tips are obscene.

The VIP guests are not listed on booking software where normal staff can see. Politicians come through the back. Famous actors arrive with caps low over their faces. Businessmen with watches worth more than your yearly rent shake Sukuna’s hand like supplicants greeting a god.

You know enough to understand that whatever happens during those dinners is legal in the way expensive things often become legal — because everyone involved agrees not to ask ordinary questions.

You do not know the truth.

You do not know that Malevolent Shrine’s second life is not merely exclusive, but predatory.

You do not know that behind the immaculate kitchen, beneath the language of aging, curing, private sourcing, and culinary philosophy, there is a hunger that has learned to wear refinement like a tailored coat.

You do not know that Sukuna is particular not only about what he serves, but whom.

You do not know that he believes fear ruins the meat unless handled properly, that deprivation coarsens the soul, that a person softened by comfort, fed well, bathed, flattered, allowed to believe themselves cherished or chosen, becomes something richer.

You do not know any of that.

You only know that Reina disappears one day, suddenly.

At first, it sounds like lateness.

Reina does not miss work. Reina does not oversleep. Reina does not ignore calls from Uraume, who stands in the office doorway with their phone in hand and an expression so blank it makes everyone quieter.

The morning shift begins with murmurs, phones checked discreetly, someone saying she has never missed work without warning.

By noon, Sukuna knows.

You are polishing glasses when he comes out of the kitchen. There is something different about him then. Not panic. Never panic. But focus, sharp and immediate. He asks three questions — when was she last seen, who spoke to her, whether anyone has contacted her family.

The manager answers quickly. Her family has not heard from her. Her phone goes to voicemail. Her apartment has not been checked yet.

“Call the police,” Sukuna says. “Now. And send someone with her family if they want to go to her place. Nobody here plays detective alone.”

It is such a reasonable instruction, so immediate and responsible, that something inside you softens.

A good boss, you think.

The thought seems obvious. He is harsh, yes, but he is not careless with his staff. He notices absence. He acts. He does not treat Reina vanishing as an inconvenience to the schedule first, even though, in practical terms, it is one.

By evening, the police has already been contacted, her family has too. Sukuna sends the staff a message telling everyone to be alert, to report anything strange, to avoid traveling alone late at night until more is known.

It makes you feel sick, the sudden absence of her.

Her name tastes strange in your mind afterward because she is not someone you know deeply, but she is part of the restaurant’s structure in the way long-term staff become. She has worked at Malevolent Shrine longer than you. She is the only waitress trusted on the graveyard VIP seatings. She is poised, elegant, private. She wears her hair in a smooth knot and smells faintly of green tea perfume. She once showed you how to carry three plates in a way that did not strain your wrist, and when you thanked her, she said,

“Do not thank me. Become useful enough to teach someone else.”

The restaurant changes over the following days. Not visibly to guests. Malevolent Shrine does not know how to look shaken in public. But behind the service doors, conversations lower when someone walks by. People check their phones more often. The women leave in pairs. One of the line cooks admits his cousin knows someone who went missing years ago and was found in another city with no memory of the week before, and everyone tells him to shut up because that is not comforting.

You worry too.

You also see the opening.

The guilt of that is immediate and ugly.

You are not happy Reina is missing. You are not glad. You think of her green tea perfume, her smooth knot of hair, her dry voice telling you to become useful. You hope she is somewhere alive, furious, inconvenienced. You hope she comes back and scolds everyone for making a tragedy out of a private emergency.

But the graveyard shift exists, suddenly uncovered, and something in you lifts its head.

Kirara has been telling you for years now that you need to go after what you want. Not wait prettily. Not hope someone notices the work and offers you exactly what you are too shy to ask for.

“You are not a houseplant,” she tells you the night before you approach Uraume. She is sitting on the kitchen counter, eating cereal from a mug because the bowls are all dirty and neither of you has the moral strength to wash dishes. “You don’t grow just because someone remembers to open the curtains.”

“I hate when you say things that make sense.”

“I know. It’s my burden.” She points the spoon at you. “Ask. Professionally. Not like you’re begging. You’re qualified, aren’t you?”

“I think so.”

“That means yes, but you’re scared.”

“I am also worried it will look opportunistic.”

“It is opportunistic,” Kirara says. “That doesn’t make it evil. You can care about someone missing and still understand the restaurant needs someone competent. The job exists whether you ask for it or not.”

You sit with that.

Reina’s locker remains closed. Her spare flats sit under the bench. Uraume is colder than usual, which you realize is their version of distress. Sukuna moves through service like a blade, sharper than grief but not untouched by it. When a junior cook makes a careless joke about Reina running off with a rich guest, Sukuna’s head turns.

The entire kitchen stills.

“Say something like that again,” he says softly, “and you can find work somewhere that tolerates stupidity.”

The cook goes white.

You see it and think, bluntly, he cares.

You see his anger and mistake it for protection.

Maybe that is not entirely wrong. Maybe predators can protect what belongs to them. Maybe care and possession can wear the same face until it is far too late to tell them apart.

For three days, the restaurant operates under a strange hush.

On the fourth, you approach Uraume.

You have rehearsed it in your head so many times that when the moment comes, your voice feels detached from your body. You wait until staff meal is over and the prep list has been checked. Uraume stands near the dry storage, tablet in hand, expression unreadable. You feel twenty-two again, newly hired, palms damp, trying to prove that no experience does not mean no value.

“Uraume,” you say.

They look up.

Your rehearsed speech nearly vanishes.

“I would like to cover the graveyard shift for Chef Sukuna while Reina is absent,” you say, and your voice comes out steadier than expected. “I know the circumstances are worrying. I don’t want to speak as if they aren’t. But the seatings still need to function, and I believe I can handle them. I know the wine pairings, the table protocols, the menu language, and the guest boundaries. I am punctual. I understand discretion. I also understand that if Reina returns, it remains her position.”

Uraume watches you.

No blink. No visible approval. Just those pale, exact eyes.

“You understand the standard for that shift is not the dinner standard,” they say.

“I do. I understand the shift is private, demanding, and usually reserved for someone with more experience in that specific service. I understand Chef Sukuna trusted Reina with it for a reason. I also understand he cannot be jeopardized because someone reliable is missing, and I know the staff is worried. I’m worried too. But my work is excellent. I haven’t mixed up an order in two years. I know the cellar list, the menu structure, the service standards. Customers ask for my section. I don’t miss shifts, I don’t bring drama to work, and I can keep my expression steady.”

“No, you understand there is a difference. That is not the same as understanding the difference.”

Your mouth goes dry, but you hold their gaze.

“Then I would like the chance to prove I can learn it quickly.”

Their brow arches slightly.

Uraume watches you for a long moment.

The hallway seems too narrow.

Finally, they say,

“Ambition looks strange on you.”

Your stomach drops.

Then they add,

“Not unpleasant. Just strange.”

You do not know what to do with that, so you say nothing.

“I will ask Chef Sukuna,” they say. “You will have an answer by the end of service.”

“Thank you.”

“Do not thank me yet. If he agrees, do not make me regret bringing your name into his mouth.”

The phrasing hits you with such force that your face nearly betrays you.

Their eyes narrow by a fraction.

“Compose yourself.”

“Yes,” you say quickly. “Sorry.”

That is all.

You spend the entire shift moving through water and fire.

Every task feels too clear. Every sound too close. Glasses chiming. Pans hissing. The murmur of the dining room rising and falling like breath. Twice, you feel Sukuna’s presence before you see him, as if the air tightens around your shoulders. You do not look toward the kitchen more than necessary. You refuse to become the girl who forgot table numbers because a handsome man existed nearby. You are not that girl anymore.

At the end of service, Uraume finds you near the polishing station.

“The spot is yours,” they say.

You almost drop the glass in your hand.

They look at it. Then at you.

You set it down carefully.

“The test is tonight,” they say.

You stare at them.

“Tonight?”

“The guests are already confirmed. You will go home, rest, return by eleven. Service begins after midnight. If you fail, you will not work this shift again. Depending on the nature of the failure, you may not continue here at all.”

Your first thought is that this is absurd.

Your second is that of course Sukuna would make the stakes ridiculous.

Why would anything near him be moderate?

The stakes are so absurdly high that for a moment your fear becomes offended.

All this for waiting tables.

All this for carrying plates and pouring wine.

Then you remember this is not about plates or wine.

It is about being trusted inside the hidden part of the restaurant.

It is about Sukuna knowing your name and perhaps, finally, your worth.

“I understand,” you say.

Uraume’s gaze lingers.

“Go home. Rest. Return by eleven. Wear the black uniform, not the standard one. Hair fully secured. No perfume.”

You nod.

“And do not look impressed by anyone you see.”

“I won’t.”

This, at least, you know you can do. You have spent years feeling everything while showing almost nothing.

At home, Kirara is sitting at the kitchen counter eating cereal from a mug because all the bowls are still dirty. Hakari is sprawled on the couch, asleep with one arm thrown over his face, snoring softly enough that you know he is pretending to be less loud than usual out of respect for your schedule.

Kirara takes one look at you and lowers the mug.

“What happened?”

“I got the graveyard shift.”

Her mouth opens.

Then closes.

Then opens again.

“Oh,” she says. “Oh, this is serious.”

“I might throw up.”

“Please don’t. Hakari will wake up and try to help, and his help in vomit situations is mostly yelling encouragement.”

From the couch, Hakari lifts one hand without opening his eyes.

“False. I’m great under pressure.”

“You cried when I got a nosebleed.”

“It was sudden.”

Kirara rolls her eyes, but fondness ruins the effect. She slips off the stool and comes to you, hands warm on your shoulders.

“Are you sure you want this?”

You think of Reina’s empty locker.

You think of Sukuna’s voice saying your name.

You think of the small-town girl who believed effort would open into something large.

“Yes,” you say. “I want it.”

Kirara studies your face, then nods.

“Then shower. Eat something. I’ll fix your hair.”

“I need to sleep.”

“You need to not show up looking like a haunted Victorian child.”

Hakari lowers his arm enough to squint at you.

“You do kinda look like you saw the devil and asked him for a promotion.”

You stare at him.

He points at you lazily.

“That’s not an insult. Some people are into that.”

Kirara throws a dish towel at him.

You do not sleep much.

You lie in bed with your eyes closed while the city breathes outside your window. A siren passes. Someone laughs too loudly below. Pipes knock inside the wall. You imagine the VIP room though you have only seen it once from the doorway: dark wood, low lighting, flowers arranged with almost funereal restraint, tables placed far enough apart that secrets can sit comfortably between courses.

Kirara helps you get ready because she insists you will overthink yourself into looking like a funeral intern if left alone.

She chooses your makeup, subtle enough to look almost like nothing, but polished. She fixes your hair twice. Hakari appears at the doorway at one point, takes one look at the two of you, and says,

“Why does it feel like she’s going to assassinate someone with wine knowledge?”

Kirara throws a hair clip at him.

You laugh, but your palms are damp.

When you step out of the apartment, Kirara catches your hand.

“Hey,” she says, softer now. “You earned the chance. Whatever happens, you didn’t get it by accident.”

You nod, swallowing around the tightness in your throat.

When you finally return to Malevolent Shrine, the public face of the restaurant is already gone.

The chairs in the main dining room have been reset. The entry lights are dimmed. Outside, the street has thinned into taxis, late buses, and people walking quickly with their collars up. Inside, the air feels different without the usual staff. No chatter. No clatter beyond the kitchen. No dishwasher roaring in the back. The main dining room has been rearranged. Fewer tables. More space between them. White cloth replaced with darker linen. Small lamps instead of overhead light. The front windows are covered from inside by screens you have never seen used during normal service.

There is no chatter from the full staff, no rush of bodies, no clatter from stations all running at once.

Only you, Uraume, and Sukuna.

And the kitchen.

The kitchen at this hour feels less like a workplace and more like a private room in the heart of something powerful. Everything gleams. Everything waits. Sukuna stands at the central station. He is not in his usual white coat. He wears black.

The uniform is simple, severe, sleeves fitted around his forearms, tattoos visible where the fabric ends. It makes him look less like a chef and more like a priest of something old enough to dislike witnesses. Uraume works beside him without asking questions.

He is leaning over a tray of ingredients you do not recognize, speaking quietly to Uraume. When you enter, his gaze cuts to you.

For one horrible second, you forget every practiced greeting you have ever learned.

Then training saves you.

“Good evening, Chef.”

His gaze moves over you. Not in the way men at tables sometimes look, lingering where they want to be caught lingering. Sukuna’s assessment is more total than that. Hair secured. Uniform pressed. Shoes polished. Hands steady. Face composed. You feel inspected for flaws and, somehow, not reduced by it. He looks at you the way he looks at a finished plate before deciding whether it can leave the kitchen.

“You asked for this,” he says.

It is not a question.

“Yes, Chef.”

“Why?”

Because I want you to see me.

Because I am tired of hovering near greatness while pretending not to want any of it.

The truth flares so bright inside you that you almost panic.

Because Reina is gone and I am ashamed that my chance exists because something might have happened to her.

“Because I can do it,” you answer instead. “And because the restaurant needs someone who won’t turn the shift into a spectacle.”

Uraume’s hands pause for half a second.

Sukuna’s mouth curves.

Not exactly a smile, but close enough to send heat straight up your neck.

“We’ll see.”

Uraume hands you a slim folder.

“Guest list. Seating arrangement. Wine notes. You will not take orders. There are none. Chef chooses the menu, sends the courses, and you deliver them. You answer questions only when you know the answer. If you do not, you tell them you will ask. You do not invent. You do not gossip. You do not react to names, faces, requests, or conversation. You do not drink anything offered to you. You do not eat anything from a guest’s plate, even if invited.”

That last instruction is strange enough that your attention catches on it.

Uraume’s expression does not change.

You nod anyway.

“Understood.”

Sukuna turns back to the counter.

“And if someone asks whether you enjoyed a dish?”

You glance at the plates, the knives laid out in perfect lines, the covered containers arranged with ritual care.

“I say Chef’s menu is designed for the guest’s palate, not mine.”

He chuckles.

The sound moves through you too warmly for the cold room.

“Not bad,” he says.

The guests arrive between midnight and half past.

You know immediately that this service is unlike anything you have ever done.

There is no bustle, no overlapping demands from ten tables at once, no family asking for extra napkins while a couple complains about a draft near the window. This is slower and more dangerous because there is space to notice everything.

Every footstep. Every pour. Every glance.

The VIP room holds twelve guests.

A minister whose face you have seen on television. A woman who owns half the luxury hotels near the waterfront. A famous actor with silver at his temples and a smile he turns off when he thinks no one important is watching. Two tech founders. A judge. A foreign businessman whose security waits outside the room. Three people you do not recognize but whose clothing whispers money so softly it does not need logos. A woman with diamonds at her ears who looks at you once and dismisses you as furniture.

They come dressed not for dinner, but for secrecy. Dark coats. Quiet jewelry. Phones placed into small locked cases at the entrance without complaint.

You keep your expression smooth.

Inside, your mind moves quickly, attaching faces to names, names to seating, seating to preferences. No perfume near seat four due to sensitivity. Seat seven prefers red but will accept white if Chef insists. Seat ten asks questions to test staff, not because he cares about the answer. Seat two is left-handed; approach with space.

Sukuna sends the first course himself.

He does not enter the room. He places the dish on the pass, and Uraume watches as you lift it.

The plate is small, almost stark. Pale ceramic. A precise arrangement of something glistening, a clear broth in a lidded bowl, fragrant with yuzu and something earthy beneath it, herbs so tiny they look impossible to have handled.

You know the description because it is in the folder. You speak it without stumbling. Your voice is calm. The guests listen with the faint amusement of people accustomed to being performed for.

The guests lift the lids, inhale, and their expressions change.

Not surprise. Recognition.

The politician closes his eyes. The actress smiles faintly without showing teeth.

You pour the pairing Uraume indicated. Your hand is steady. Your voice is even when you explain what the wine will emphasize. You do not say too much. These are not guests who want education unless they request it. They want precision and permission to believe they are being understood.

The second course is richer. A small portion of seared meat, sliced thin, arranged with bitter greens and a sauce so dark it reflects the lamp light. You do not know what cut it is. That bothers you for one second, because you know the menu vocabulary of this restaurant like prayer by now, and yet this belongs to no printed menu, no prep sheet you have seen.

Still, you serve it.

A man at table two asks,

“Does he still do the aging himself?”

You keep your expression pleasant.

“Chef oversees every stage personally.”

That seems to satisfy him. More than satisfy him. He looks pleased by the answer in a way that makes your skin prickle.

Sukuna cooks as if time belongs to him.

You feel it through the wall between the kitchen and the room. The pace is controlled but never sluggish. Each course arrives at the exact moment the previous conversation begins to thin. Each wine pairing makes sense so cleanly that even the guests who came prepared to be difficult pause after tasting.

You do not see the violence of his reputation tonight. You see discipline. You see imagination. You see a man so profoundly inside his craft that everything else becomes irrelevant.

And you understand, with a clarity that frightens you, that your crush was shallow compared to this.

Before tonight, you wanted Sukuna as an image — handsome, successful, severe. A distant figure onto whom you pinned your hunger for arrival.

Tonight, watching his work move through the room, watching powerful people become attentive because he has decided what they will taste and when, you want him as himself, or what you think is himself.

His mind. His precision. The arrogance that feels earned even when it irritates you. The way he refuses to flatter people who have built entire lives around being flattered.

At one point, the minister asks whether Chef will come out.

You incline your head.

“Chef will greet the room after the final course, should his work allow.”

The minister laughs

“His work allows whatever he decides it allows.”

“Yes,” you say pleasantly. “Exactly.”

The woman with diamonds smiles into her glass.

The night moves.

You fall into the work because work is merciful. There are plates to clear, glasses to refill, crumbs to remove, napkins to replace when someone leaves the table, questions to answer without stumbling.

In the kitchen, when you return, Sukuna is looking at you.

You pretend not to notice the approval in his eyes because if you let yourself believe in it too strongly, your hands might shake.

The questions become stranger as the night progresses.

Not openly. Nothing you can point to and name. But there are phrases you do not understand, comments that make Uraume’s gaze sharpen and Sukuna’s mouth tilt with private amusement.

The guests speak of sourcing with reverence. Of rarity. Of gratitude. Of “the old way” and “the purity of personal selection.” You assume it is rich people nonsense, the kind of language that grows around any expensive experience to justify its price. You have heard men describe wine as courageous. You can survive anything after that.

Still, once, while clearing a plate from seat ten, you hear the judge say,

“He always chooses the lonely ones best.”

Your fingers tighten on the rim of the plate.

Only for a second.

No one notices except Sukuna, who is not even in the room.

When you return to the kitchen, he is standing near the pass instead of cooking, a towel draped over one shoulder, eyes on your hands.

“What did he say?” he asks.

You look up, startled.

“Who?”

His expression tells you not to waste his time.

“The judge said you choose the lonely ones best,” you admit.

Uraume stills.

Sukuna’s face does not change.

You feel, absurdly, as if you have repeated something vulgar.

“And what do you think he meant?” Sukuna asks.

You consider lying. Then decide against it.

“I think wealthy people enjoy sounding profound about dinner.”

For half a second, there is nothing.

Then Sukuna laughs.

Not the short, dismissive sound from your interview. A real laugh, low and pleased, his head turning slightly as if he does not want to give you the satisfaction of seeing all of it.

Uraume closes their eyes briefly, as though praying for patience.

“Get back in there,” Sukuna says, but his voice has changed. “Before they start thinking you have a personality.”

You go, warmth blooming embarrassingly in your chest.

The courses grow stranger, though not in any way you can name clearly. A tartare so finely seasoned the judge makes an involuntary sound and then looks embarrassed. A dumpling served alone in a shallow pool of clarified fat. A custard that smells faintly of smoke and iron under the sweetness of caramelized onion.

Every plate is beautiful.

Every plate leaves the kitchen with Sukuna’s absolute attention.

You begin to understand why people come.

That realization should feel simple. The food is extraordinary. That is the obvious explanation.

Yet there is something else moving under the night.

A charge.

The guests do not merely eat. They receive. They savor with a concentration that feels almost indecent though nothing indecent happens. They speak in half-sentences. They refer to previous dinners in ways that make no sense to you.

“Spring was softer.”

“The winter menu had more grief in it.”

“Is this one local?”

At that, you almost falter.

Almost.

You keep pouring.

Uraume watches you each time you return, pale eyes catching every detail. Sukuna says less than you expect. He works with a calm that has nothing to do with ease. His face is focused, but there is pleasure there too, not cheerful pleasure, not warmth. Pride. Possession. Each dish seems to leave him reluctantly, like he is allowing the room to borrow a piece of his private discipline.

Near three, the final savory course goes out.

You carry the plate to the politician’s table first. A small, perfect portion. Deep glaze. A garnish of something white and crisp. You set it down from the left, as instructed, and the woman who is not his wife looks at your face rather than the food.

“First time?” she asks.

There is amusement in her voice.

You do not know what she means.

“My first graveyard service, yes,” you reply.

Her smile is slow.

“How sweet.”

The politician gives her a warning look, mild but real.

You step away before your curiosity can show.

The final course is dessert.

It is beautiful, and you do not understand why it makes you sad.

A dark lacquered bowl. Cream folded with something floral and bitter, fruit sliced so thin it curls at the edges, a crisp shard of caramelized sugar resting across the top. There is a red sauce beneath it, glossy and deliberate. You describe it as plum because the notes say plum. One of the guests closes his eyes after the first bite. Another exhales shakily, almost laughing.

For the first time all night, you feel out of place.

Not because you are nervous. Because the room’s pleasure has become intimate in a way service usually prevents you from acknowledging. You are witnessing people experience something too private for strangers, yet they paid to do it together. Their faces soften, sharpen, empty, fill. The minister looks almost grief-struck. The hotel woman covers her mouth with two fingers.

You think of the judge’s comment.

Lonely ones.

The thought bothers you enough that you tuck it away.

After the last plate is cleared, Sukuna enters.

The room changes.

You have seen customers request him before. You have watched regulars light up when he steps into the dining room during normal service, watched men try to impress him with technical questions and women smile in ways meant to soften him. This is different. These people do not merely admire him. They anticipate him. The air tightens with appetite and fear and respect tangled so closely you cannot separate them.

Sukuna accepts their praise like tribute.

Not graciously. Not rudely. He lets it come to him.

When the actor says the menu was transcendent, Sukuna replies,

“That word has lost meaning in your mouth.”

The actor laughs too hard.

When the hotel woman asks about the sauce in the final course, Sukuna says,

“No.”

She smiles as if the refusal itself is a gift.

You stand near the wall, hands clasped behind your back, invisible and present. Sukuna does not look at you. Somehow, that feels intentional. A mercy. A test. You keep your posture perfect until the guests begin to leave, one by one, with handshakes and murmured thanks and envelopes pressed discreetly into your palm or left on the table.

By the time the last guest leaves, dawn has begun pressing faintly against the covered windows.

Your body feels distant from you. Your feet ache. Your shoulders are tight. Your face hurts from holding the correct expression for hours. Still, nothing went wrong. Not one glass misplaced. Not one answer fumbled. Not one guest unattended. You remember every pairing, every cue from Uraume, every tiny adjustment in timing.

You did it.

The realization comes slowly, as if afraid of startling you.

You are standing near the host station when you open the leather folder containing your tips.

For a moment, your mind refuses to process the amount.

Then it does, and you close the folder again.

No.

Absolutely not.

It is too much. Obscene. More than you make in weeks. Months. More than your rent. More than anyone should hand a waitress after one night of carrying plates, no matter how heavy the plates felt in your hands.

Uraume finds you staring at the folder like it contains a weapon.

“What is wrong?”

“I think there has been a mistake.”

They look at the money, then back at you.

“There has not.” They resume looking down at their tablet.

“This is wrong,” you say.

Uraume looks up from their tablet once again.

“What is?”

You push the money toward them.

“This. I can’t take all of this.”

Their face remains blank, but you have worked under them long enough to recognize the faint disturbance.

“Why not?”

“It’s too much.”

“It is your tip.”

“I didn’t do anything worth this.”

“You worked the room alone.”

“Sukuna cooked.”

“Chef is not tipped like waitstaff.”

“But—”

“Do you regularly argue with money?”

You stare at them.

“No.”

“Then do not start at four in the morning.”

You glance down at the envelopes again.

“Usually tips are shared.”

“During public service. This was not public service. There was no one to share with.”

“It feels unfair.”

Uraume’s eyes narrow.

“To whom?”

You do not have an answer.

Or you have too many.

To Reina, maybe. To the staff who worked normal service and went home tired without envelopes full of cash. To the girl you used to be, who would have considered this amount life-changing. To the idea that carrying plates for rich people should not produce more money in one night than weeks of honest exhaustion.

You lower your voice, embarrassed.

“I don’t think I deserve this much.”

Uraume’s expression shifts almost imperceptibly, not softening, but sharpening in a different direction.

“That is a strange thing to say after asking for a position on the basis of your competence.”

You flinch a little because they are right.

Before you can answer, the kitchen doors swing open.

Sukuna steps out.

He looks tired.

That should not affect you the way it does. Everyone looks tired after a shift like this. You certainly do. But tiredness on him feels almost private. His jacket is still clean, somehow, though the sleeves are pushed higher and his hair is less perfect than usual. A faint shadow sits under his eyes. He has removed his apron. Without it, he looks less like the unreachable force inside the kitchen and more like a man who has spent all night making something difficult with his own hands.

It does not make him smaller. If anything, it makes him more dangerous to your heart because for once he looks touchable by ordinary human conditions.

Fatigue. Quiet. The hour before morning when even severe men become real.

Still magnificent, your mind supplies, uselessly.

His gaze moves from you to Uraume to the folder in your hand.

“What’s this?”

Uraume answers before you can make yourself sound foolish.

“She attempted to surrender her tip because she believes she does not deserve it.”

You bite the inside of your cheek so hard it hurts.

“That is not exactly what I—”

Sukuna chuckles.

The sound stops you completely.

You have heard him laugh before, but not like this. Not in full conversation. Not directed at something happening between you. It is low, brief, genuinely amused, and it makes your stomach dip in a way you are too tired to defend against.

You press your lips together.

Sukuna’s gaze slides to you.

The kitchen light catches his eyes strangely. Red-brown, you think. Or red in truth. You have never decided. Perhaps you have never been brave enough to look long enough.

“That so?” he asks.

“It’s not like that,” you say, then stop because your voice sounds too quick.

His mouth curves with amusement.

“Then explain.”

You look down at the money.

“It’s a lot.”

“These people are rotten rich,” Sukuna says. “They like making others feel like grateful little mice. Don’t build a moral crisis out of their pocket change.”

You blink.

It is such a blunt, ugly, human thing to say that it breaks something open in your perception.

You had expected him to say something lofty. Something about standards, excellence, what service is worth. You had expected cruelty, perhaps, or dismissal. Not this. Not a comment that makes the guests seem smaller instead of larger. Not the acknowledgment that their generosity is not innocent, that money can be another way of pressing a thumb to someone’s spine.

You look at him and, for a moment, forget that you are supposed to respond.

He raises an eyebrow.

“Did exhaustion make you stupid?”

You should say something intelligent.

What comes out is your name.

You introduce yourself to the man you have worked for four years.

The second the words leave your mouth, you want to step into traffic.

“No,” you say quickly. Then, because your thoughts have gone soft at the edges and your mouth chooses the worst possible moment to act independently, you add, “I’m—sorry. I’m just realizing I’ve never actually introduced myself to you.”

Uraume turns their face away.

It might be the closest they have ever come to laughing.

Sukuna stares at you.

His eyebrows lift, and you notice again how precisely they are slit, how the tattoos on his face emphasize expressions instead of hiding them. You have seen those markings from a distance for years, but up close they are not just intimidating. They are almost elegant, fitted to him so completely you cannot imagine him without them.

“I know your name,” he says. “You’ve worked for me for four years.”

“Yes,” you say, because apparently you have decided to make this worse. “I know. I meant—”

“I wouldn’t let you take this shift if I didn’t know everything about you.”

The air changes.

Only slightly. Maybe only inside your body.

Everything about you.

It is a phrase that should unsettle you. It does unsettle you.

Goosebumps rise along your arms under the sleeves of your uniform. For one second, the empty restaurant feels very large around you, and he feels larger than he should, standing between the tables with his hands relaxed at his sides. His words are too sharp to be sweet, too possessive in shape, too heavy with something you cannot place. A shiver travels down your spine, delicate and warning, but your heart does not understand warnings when they come in the same voice as attention.

Everything about you.

You should wonder what that means.

Instead, you feel seen.

Ridiculously, dangerously seen.

“What does everything mean?” you ask before you can stop yourself.

Sukuna’s head tilts a fraction.

“It means I know who works in my restaurant. Especially if they ask to serve my private room.”

His answer is reasonable.

That almost makes the shiver worse.

“Oh,” you say.

“You thought I approved you because Uraume asked nicely?”

“No. I didn’t think Uraume asked nicely.”

That earns another curve of his mouth. This one is smaller, but it lasts longer.

“Smarter than you look tonight.”

You should be offended.

You are, a little.

Mostly, you are thrilled, which is humiliating.

“I hope I look at least moderately intelligent most nights,” you say.

“You look polite. People confuse that with empty-headed.”

The words hit too close to thoughts you have carried for years. Small town, soft voice, careful smile, pretty enough to be underestimated, not bold enough to correct people until you had earned the right. You look at him, surprised into silence.

He notices.

“There it is,” he points out.

“What?”

“The part you keep tucked away.”

Your pulse changes.

You do not know how he can say things like that while sounding almost bored. You do not know how to respond without giving away too much, and you have spent too long teaching yourself not to spill feelings at the feet of people who may step over them.

So you glance at the folder in your hand and say,

“I should put this away before I stand here all morning proving your point about grateful mice.”

Sukuna huffs.

“Better.”

You go to the staff room to collect your things. Your hands shake only once, when you tuck the money deep into your bag. You check your phone. Several messages from Kirara.

KIRARA: alive?

KIRARA: if rich people murdered you I get your good moisturizer

KIRARA: hakari says if rich people murdered you he will avenge you but only after breakfast

KIRARA: update me or I’m calling the restaurant and embarrassing you professionally

You smile despite your exhaustion.

Alive, you type. Successful. Coming home soon.

You hesitate, then add, Chef spoke to me.

Her reply comes almost immediately.

KIRARA: OH? 👀👀👀👀

You put the phone away because you cannot survive Kirara in that mood while still inside the building.

When you return to the main room, Sukuna is waiting near the entrance with his coat on. Not the chef jacket now, but a dark coat that makes him look broader, more severe. Uraume is nowhere visible. The restaurant is locked behind you after you step outside into the dawn.

The city at that hour feels temporarily rinsed clean. Delivery trucks idle near curbs. A cyclist passes with a crate strapped to the back. The sky is pale, not yet blue. The air has that early chill that will disappear once the day gathers traffic and exhaust and human impatience.

You breathe in, relieved.

Sukuna looks at you.

“How are you getting home?”

“I’ll call a cab,” you say. “Or walk, if the wait is too long. I used to walk after late shifts.”

His head turns.

Slowly.

You realize at once that you have said something wrong.

“At this hour?”

“It’s not that far.”

“That wasn’t the question.”

You shift your bag on your shoulder.

“I know the route.”

“Do you also know every man awake on that route?”

You open your mouth, then close it.

His expression flattens.

“Unless you intend to get mugged or murdered and leave me with two fewer waitresses in one month, you’re not walking home at dawn with that much cash in your bag.”

The phrasing should be insulting. It probably is insulting. But there is concern in it, rough-edged and practical, so badly disguised as irritation that your tired heart does something foolish with it.

“I can call a cab.”

“I’m dropping you off.”

You blink.

“Chef, that is not necessary.”

“I didn’t ask if it was necessary.”

“I don’t want to trouble you after such a long shift.”

“You already troubled me by suggesting you might wander home half-asleep with rich men’s guilt money in your purse.”

You almost laugh. You manage to keep it to a breath, but he sees it.

His eyes narrow slightly.

“Something funny?”

“No,” you say, too quickly. “I just… rich men’s guilt money.”

“That is what it is.”

“I thought it was mouse money.”

“It can be two things.”

This time you do laugh, quietly, because exhaustion has loosened something in you, and because he is absurd in a way you never knew he could be. Not gentle. Not sweet. But human. Wry. Present. Someone who can make a dry joke outside the huge black mouth of his restaurant while the sky lightens behind office towers.

He watches you laugh as if cataloging the sound.

You do not think about the danger of getting into his car.

That fact will matter later.

For now, you think of the warmth waiting inside a vehicle, the saved cab fare, the strange privilege of sitting beside him for a few more minutes. You think of Kirara’s story, of Hakari seeing her properly, of love arriving through recognition. You think, foolishly, that being noticed is the beginning of being chosen.

His car is parked in a private space behind the restaurant.

Of course it is black. Of course it is sleek in a way that makes you afraid to touch it wrong. Sukuna opens the passenger door, not with gallantry exactly, but with the impatience of someone who dislikes wasted time. Sukuna’s car is as controlled as everything else about him. Dark, clean, expensive without being flashy. The interior smells faintly of leather, cedar, and something metallic you assume comes from kitchen tools transported too often. You slip inside, careful with your bag, and the leather seat is cold beneath you.

The seat is low and soft. Your body, finally allowed to sit somewhere not meant for posture, almost melts on contact. Sukuna closes the door and walks around to the driver’s side. Through the windshield, you watch him for the few seconds before he gets in, his shoulders filling the pale morning behind him.

You are suddenly aware of how tired you are.

Not sleepy, exactly. More like every version of you from the last four years has exhaled at once. The girl who mixed up orders because a handsome chef looked her way. The girl studying wine with a cheap pen while Hakari mocked tasting notes. The girl crying over Kirara’s love story. The girl worrying about Reina and still asking for the shift. The girl standing in front of powerful people with her face calm and her hands steady.

All of you sit in Sukuna’s passenger seat, aching and awake.

He starts the car.

“Address.”

You give it to him.

The car pulls into the street.

For a while, neither of you speaks.

The city passes in blue-black fragments. Closed shops with shutters down. A man hosing the sidewalk outside a bakery. Traffic lights changing for almost no one. A couple arguing softly near a bus stop, both too tired to raise their voices. The windows of high buildings reflecting the last scraps of night.

You sit with your hands folded over your bag, hyperaware of Sukuna beside you.

He drives one-handed, relaxed but attentive, his other arm resting near the console. There is no music. You wonder if he dislikes it or if silence is simply another space he expects to own. His profile in the passing lights looks carved and tired and unreachable.

“Did I pass?” you ask eventually.

Sukuna does not look at you.

“You would not be in my car if you hadn’t.”

That answer sends warmth through you so quickly you have to look out the window.

“I thought the car was because you didn’t want to lose another waitress.”

“It is.”

“But not only that?”

His hand shifts on the steering wheel. Large hand. Steady. No wasted movement.

“You want praise?” he asks.

Your face heats.

“I want to know whether I should come back for the next one.”

“You should.”

Simple. Direct. No decoration.

It affects you more than praise would have.

Then, just to prove your thoughts wrong, he says,

“You did well.”

You stop breathing for half a second.

It is ridiculous. You have received compliments from customers, from managers, from people whose approval should matter. But those three words from him strike somewhere deep, somewhere you have not properly protected.

“Thank you,” you say, and hope your voice does not sound as affected as you feel.

“Don’t sound so shocked. It’s insulting to both of us.”

“I’m not shocked.”

“You are.”

You look out the window to hide your face.

“Maybe a little.”

He huffs.

“Why?”

Because I have wanted you to think well of me for years.

Because I did not realize how heavy wanting could become until you handed me one small piece of approval and my whole body tried to call it nourishment.

Because I am lonelier than I look, and you looked at me tonight as if I was not interchangeable.

“I didn’t want to fail,” you say.

“That’s not the same as wanting to succeed.”

You turn that over in your mind.

His words irritate you because they are right.

“No,” you admit. “I suppose it isn’t.”

Sukuna glances at you briefly.

“So which was it?”

You look at your hands.

The city lights slide over your fingers, your neat nails, the faint mark on your thumb from where you once burned yourself on a hot plate during your second year. You are suddenly tired of pretending your ambition is only responsibility. Tired of hiding desire under usefulness, as if wanting things openly will make the city laugh at you.

“Both,” you say. “At first, I didn’t want to fail. Then I wanted to prove I belonged there.”

“In the VIP room?”

“At Malevolent Shrine.” You pause. “In the city. Maybe that sounds dramatic.”

“It sounds young.”

You wince.

He notices.

“I didn’t say stupid,” he adds.

The correction surprises you enough that you look at him.

His eyes remain on the road.

“People come here to become something. Most of them don’t know what. They just know they hated feeling small where they were.”

Your throat tightens because you do not expect understanding from him, and it is worse than kindness. Kindness you could dismiss as habit. Understanding requires attention.

“I didn’t hate my town,” you say. “I just felt like I was waiting there. For what, I don’t know. A life, maybe. That sounds ungrateful.”

“It sounds honest.”

The word settles between you.

Honest.

You look out the windshield. The road gleams faintly under streetlights.

“I studied so much. Everyone thought I would do something impressive. Then I came here and became a waitress.”

“You say that like waitressing is shameful.”

“It isn’t.” You mean it. “But it wasn’t the dream people imagined for me.”

“People imagine stupid things for girls who get good grades.”

You laugh before you can stop yourself.

It comes out softer than expected, more tired than bright.

Sukuna’s mouth curves faintly.

Encouraged or reckless, you continue.

“They imagine offices. Scholarships. A husband who wears clean shirts and has parents they can brag about. Something with a title they understand.”

“And you?”

“I imagined…” You trail off.

He waits.

You do not know why that matters. Maybe because most people either interrupt or rescue. Sukuna does neither. He lets the silence demand courage from you.

“I imagined leaving,” you say. “That was the clearest part. Everything after was blurry.”

“And now?”

Now you work in a restaurant owned by a man rumored to be monstrous, sitting in his car before dawn with money in your bag and admiration pressed painfully beneath your ribs. Now a woman you respected is missing. Now the city feels less like arrival and more like a mouth you walked into willingly.

“Now I’m still figuring it out.”

“Good.”

“Good?”

“People who think they’ve figured themselves out are usually boring or wrong.”

You glance at him.

“And you’ve figured yourself out?”

His smile is brief and not at all gentle.

“I’ve never been confused about what I am.”

Something about the way he says it makes the car feel colder.

You look at the tattoos on his hand as he turns the wheel, the dark markings shifting over tendon and knuckle.

“What are you, then?”

The question leaves you quietly.

Sukuna does not answer immediately.

For a moment, the only sound is the engine and the tires moving over uneven road. He stops at a red light though there are no cars coming. His face is half-lit, half-shadowed, and when he finally looks at you, you feel that same shiver from earlier, the one your body understands better than your mind.

“Hungry,” he says.

Your lips part slightly.

It should sound like a joke. It does not.

The light turns green.

He drives on.

You tell yourself he means ambition. Appetite for excellence. The thing that makes him create menus powerful people pay fortunes to experience. Hunger as drive, as discipline, as refusal to settle. It is a metaphor because people use metaphors when they are tired and intimate in the dark.

You tell yourself that, and because you are naive in the specific way lonely smart girls can be naive, you believe the version that lets you keep looking at him.

“I think I understand that,” you say.

Sukuna’s eyes flick to you again.

The corner of his mouth lifts.

“No,” he says. “You don’t.”

You do smile then, small and helpless, because he sounds exactly like himself again. Severe, impossible, not softened by dawn or your exhaustion.

The man you have built up in your mind is still there, but closer now, detailed by ordinary things. He drives one-handed when the street is empty. He checks mirrors frequently. He dislikes cyclists who ignore signals. There is a small scar near his thumb you have never noticed. His phone sits face down in the console, screen dark.

“Why did Reina work the shift alone?” you ask.

His expression does not change, but something in the car tightens.

“She was good at it.”

“I know. I didn’t know her very well, but she helped me when I started.”

“She helped everyone competent enough not to waste the lesson.”

You look down at your hands.

“I hope she’s alright.”

“So do I,” he says.

He says it evenly.

You believe him.

That is the terrible, important thing.

You believe the concern because it fits with what you saw. The instructions. The police. The alert staff. His irritation now when you suggest walking home. You place all of those pieces together and form a picture of a hard man with a responsible core, a man whose cruelty is professional rather than personal, a man who may not be kind in the way most people understand it but still knows the value of those under his care.

[heyitsrink]

My new comic Graveyard Shift debuted this weekend at my local zine fest! I'm so proud of this work. The story is a workplace slice-of-life where a ghost and a sentient angel statue are tasked to protect the cemetery from grave robbers. Enjoy!

Thanks for reading <3

[lakecountylibrary]

Do y'all have any fantasy or sci-fi recommendations that don't involve the main character(s) getting into romance?

We have a few for you!

Caroline recs Graveyard Shift by Michael F. Haspil, about a mummy and a vampire teaming up to keep the streets safe in Miami.

Robin recs:

The Murderbot Diaries by Martha Wells. On the off chance you haven't heard of it, it's about a security unit that disables its governor module and, instead of exacting bloody vengeance against the humans who controlled it, discovers the entertainment feed and settles in to watch a LOT of media (and not deal with any of its trauma, no thank you). Start with All Systems Red.

Project Hail Mary by Andy Weir. It has a movie coming out soon. I'm sure it'll be great but don't watch the trailer, it gives things away. This one's about a science teacher who becomes an unlikely astronaut, selected to save humanity. Only problem is, cryo-sleep has done a number on his memories and he is missing a LOT of vital information.

Ninefox Gambit by Yoon Ha Lee: Sci-fi about a military captain sent on an impossible mission to recapture an un-capturable fortress. The best way to do that? Get possessed by the ghost of the empire's greatest military tactician. Unfortunately, this genius is famous for betraying the empire in his previous life...

--

Not all of our team has had a chance to see your request yet, but I didn't want to leave you hanging. We may get some more recs over the weekend - and I'm sure our readers will be happy to put some more suggestions in the replies and reblogs!

[papiliomame]

Ectoberweek Day 25 - Graveyard Shift

Click on the image!

" Don't worry Danny, your big sister will protect you." As young kids the Fenton siblings weren't allowed to go to the basement lab, especially not after midnight, the time when " the ghost activity is at its best", as the Fenton parents put it. The main reason why the ectoscientists love to work during the graveyard shift in their lab. One night, the children were woken up by terrible noises coming from downstairs. Unable to stop worrying about what could have happened they mustered all their courage and ventured into the basement...

Do you remember how as a kid you were afraid to go to the basement? You know there was nothing there ( probably...) but you couldn't help to see stuff in the dark. I wanted to capture this feeling.

Light and dark version:

[spongepost-squareblog]

Can I have a job application? I brought my own spatula.