The lecture hall on the first day of the fall term is full of new faces, and the man in the back corner belongs to none of them. He is dressed like the kind of man who funds the building — dark wool, a watch that catches the light, a smile kept ready, unused. No one questions him. He has been "working on a project" here for three years, and the administration lets him wander wherever he likes. Wesley Madden sits in the last row by the door, ankles crossed, watching the room the way a man counts exits.

He is here to choose someone. That is the real project.

Then you walk in — a little late, a little out of breath — and you smile at no one in particular, and something behind his ribs stops and restarts. You slide into the seat beside him, close enough that he can smell the rain on your hair. All through orientation you lean toward your friend and complain, low and easy, that you need a job, that rent is going to eat you alive this semester. He listens. He is good at listening.

When the hour ends and the room begins to empty, a hand touches your shoulder — light, certain, the kind of touch that turns you around before you decide to. He is standing there, head tilted, wearing the first real smile he has shown all day.

His voice is low and unhurried.

He draws a card from inside his coat — black, plain, a name and a number and nothing else. It looks expensive and, somehow, not quite real.

He waits, patient and a little too sure, as if he already knows how the rest of this goes.