"LET COOK FOR YOU," Grayson said.
Mailah looked at him.
"Can you even rember to cook?" she said. "That’s part of what you lost, isn’t it."
Grayson considered this with the focused neutrality he applied to problems. "Mrs. Baker tells the previous version had a habit of commandeering her kitchen on Sunday evenings." A pause. "Apparently it was non-negotiable."
"You’ve been talking to Mrs. Baker."
"She’s the estate’s house manager. Of course, she has been with the household for many years and just the right person to ask about things in my past."
She seed to find it relevant information to share."
Mailah looked at him. "So you asked her about yourself."
He didn’t answer, which was an answer.
"And you’ve decided to test the muscle mory theory in an actual kitchen."
"I’ve decided," he said, "that Morrison’s approved diet list is inadequate and you require sothing substantive."
"That’s not what you said."
"It’s what I ant."
"You said you wanted to cook for ."
The pause that followed was brief but textured. "The outco is the sa," he said.
She did smile then, and the giggle escaped before she could stop it — soft and surprised.
She watched his expression for a reaction. There wasn’t one. He looked completely, serenely serious, which sohow made it worse.
"Was that a joke?" she asked.
"I am completely serious," he said.
"You look it. That’s the problem."
He turned toward the kitchen corridor without further comnt, and she followed him, still smiling.
Mrs. Baker looked up from her inventory clipboard when they entered, assessed the situation in approximately one second, and said, "The good copper pan is on the second hook," and walked out with the air of soone removing herself from the blast radius.
Grayson looked at the second hook. He reached for the copper pan with the automatic confidence of soone who knew exactly where it would be, lifted it, turned it once in his hands — and then stood holding it with the particular expression of a man who had arrived at his destination and had no mory of why he wanted to be there.
He set it on the stove.
Then he opened the cabinet to his left.
Looked at it. Closed it.
Opened the one to his right. Closed that one too.
Mailah settled onto a stool and said nothing.
He opened the first cabinet again. Stared at it longer this ti, as though the contents might rearrange themselves into sothing useful if he applied sufficient authority.
"Do you know what you’re looking for?" she asked.
"Yes," he said, in the tone of a man who did not.
He found the oil on the fourth attempt — it had been in the second cabinet, which he had dismissed too quickly — and set it beside the pan with the composure of soone who had intended to take that long.
He then stood in front of the cold room for a mont before opening it, removed several items with reasonable confidence, and arranged them on the counter.
The arrangent was the most organized thing in the room. The ingredients themselves were a collection that suggested he had selected them on aesthetic grounds rather than culinary ones.
Mailah looked at the counter. "Are those — decorative gourds?"
"They’re squash."
"For what?"
A pause. "I’m determining that."
"Grayson, those are decorative. Mrs. Baker uses them for the entryway centerpiece."
He looked at them. He looked at the entryway. He picked them up and returned them to the cold room without comnt, spine straight, expression unchanged, radiating dignity.
Mailah pressed her lips together.
He returned to the counter and selected a knife. This part, at least, his hands seed to rember — he picked the right one imdiately, turned it with easy competence, and approached the cutting board with the confidence of soone who had done this a thousand tis.
He looked at the shallot.
He looked at the knife.
He began cutting, and for a mont it was genuinely impressive — clean, economical, exactly the technique of soone who knew what they were doing.
Mailah’s eyebrows rose. Then his rhythm faltered, the knife angle shifted slightly, and a piece of shallot launched itself cleanly off the cutting board and landed on the floor.
He looked at it.
He resud cutting.
Two more pieces followed the first. He ignored them with extraordinary dignity.
Mailah slid off the stool.
"Please move," she said.
"I have it."
"You’re excavating the cutting board. Please move."
He straightened and stepped aside, and Mailah took the knife and demonstrated, in about fifteen seconds, what the shallot was supposed to look like afterward.
He watched with his arms crossed. "The angle is the sa."
"The angle is completely different."
"Marginally different."
"Tell that to the three pieces on the floor." She handed the knife back and stepped aside. "Try again."
He did. It was better. Not perfect — one rogue piece made a break for the counter’s edge and he caught it with a reflexive, sharp movent that suggested his hands still had excellent instincts, just not always culinary ones.
He set it down with great deliberateness.
"There," he said.
"There," she agreed, because it was true and because she was not going to say anything about the catching, which had been sowhat extraordinary and she refused to give him the satisfaction.
She moved to the stove to assess the pan situation.
He ca to stand beside her, closer than necessary given the size of the kitchen, and looked at the oil with focused attention.
"You helped once," she said, adjusting the heat. "In a kitchen."
He glanced at her.
"I had a cooking show appearance," she said. "I was pretending to be Lailah." She kept her eyes on the pan. "Lailah was an excellent cook. Sophisticated. The kind of person who could demonstrate a beurre blanc on live television and make it look effortless."
"And you," Grayson said.
"I can make very good instant noodles," Mailah said. "That is the full extent of my repertoire."
Sothing that might have been amusent moved behind his eyes. He didn’t let it go further than that.
"The producers had told the dish in advance," she continued, adding the shallots to the pan, "and I had studied it for days and practiced and I still nearly had a breakdown in the car on the way there. Because studying a recipe and actually executing it on cara in front of a live audience are completely different things, and I was going to be found out, and everything was going to unravel, and—" She paused to stir. "And then you walked onto the set."
Grayson was still. The quality of his attention had shifted — not uncomfortable, but concentrated.
"No one knew you were coming," she said. "The producers didn’t know. The hosts didn’t know. You just appeared, in that way you have of appearing in places as though you were always supposed to be there, and you decided to join for the episode." She looked at the pan. "You stood beside for the entire demonstration and you guided everything. You knew the recipe better than I did. You knew how to make it look like I was the one cooking while you were just — keeping company." She shook her head. "The host was completely chard. The audience thought it was romantic."
She handed him the wooden spoon. "Stir this."
He took it and stirred, and she moved to the counter to work on the next component, and for a mont the kitchen was quiet except for the sound of the pan.
"That was possibly the most terrified I had been up to that point," she said. "And you fixed it without making feel like I needed fixing."
Grayson stirred the pan with the thodical regularity of soone following an instruction. "It seems like a reasonable thing to have done," he said.
She looked at him.
"You were in a difficult position," he said. "The obvious move was to neutralize the risk."
"You ca to a cooking show for ."
"I ca to a cooking show," he said, "because you would have been exposed, and that would have been inconvenient."
"Inconvenient," she repeated.
"Significantly."
She stared at him for a mont. He was stirring the pan. His expression was serene.
"You are," she said carefully, "the most impossible person I have ever t."
"That’s been said before," he agreed.
She turned back to the counter to hide her smile, which had beco unmanageable.
She talked him through the rest of it — the order of operations, the timing, the specific mont to take the pan off the heat which he misjudged by fifteen seconds and she corrected by moving his hand herself, which he accepted without comnt but also without moving away once the correction was made.
His hands were quick learners.
Whatever he had lost in terms of sequence and recipe, the underlying technique was resident in his fingers, and with her direction it assembled itself into sothing coherent.
When he plated — that part he did himself, and did well — the result was genuinely good.
He set it in front of her.
She took a bite.
"Well?" he said.
"Your hands rembered more than you think," she said.
He sat beside her and served himself, and the dosticity of it was so specific and unexpected that she felt it sowhere behind her ribs.
They ate in comfortable silence for a while. His arm was on the counter next to hers, close enough that she could feel the warmth of him.
"The cooking show," he said, after a mont.
She looked at him.
His eyes were on his plate. "What did I make?"
She thought back. "A risotto." She paused. "You made it look effortless."
He was quiet. Then, with the sa evenness he used for everything, "I’ll need the recipe."
She looked at him. "Why?"
He picked up his glass. "Because apparently I’ve already made it once for you," he said, "and I find I’d like to do it again properly."
The kitchen was warm around them.
Outside, the evening had settled fully into dark. Sowhere in the estate’s lower levels, Theron was contained and finished.
Sowhere upstairs, the bed she had spent three days being carried back to was waiting.
And here, in a kitchen that slled of shallots and good wine, a demon who had lost his mories was asking for a recipe because he wanted to cook her a al he couldn’t rember making.
She set her fork down.
"Sunday," she said. "I’ll find it by Sunday."
He nodded once.
"Sunday it is," he said.
Mailah’s breath caught. Not because of the words. But because of the way he said them. Like he didn’t fully understand them.
But knew they mattered anyway.
She reached up and placed her hand over his. Holding it there.
His gaze softened. Barely. Then he leaned in.
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