If she were to make a list of pros and cons, the cons would win.<br/><br/>The dark man has shown a helpful side, yet more so a dark side. He is quick tongued, reeked of alcohol and women on their first encounter in New York, has insulted her, put her and her daughter in further danger, and is conceitingly contrite.<br/><br/>Pros, real fast here; handsome, fine dresser, strong, sometimes nice in a weird way, somewhat helpful.<br/><br/>The curve: she trusts about as much as a worm eats, and that ain't much.<br/><br/>Ever make a list like that, written or mental?<br/><br/>And when it's a matter of a vehicle, new residence, job change, normally one abides the list. Matters of a personal nature, one tries the cons, anyway.<br/><br/>Some feel this is a challenge. Others it's a way to become stronger. A few just to see if they can.<br/><br/>The select few that choose a losing decision, typically have an emotional investment. Albeit slight.<br/><br/>She has distanced herself for so long from trust, compassion, this is alot to accept.<br/><br/>Here stands the dark man, a monster as she, asking for something, perhaps help. And her brain yells, "oh hell no, run girl, run", while her soul screams "help him to help you.".<br/><br/>She sighs, a passerby on the busy street bumping against her side, nudging her to his. Her daughter whimpers, not used to the public or touch as she becomes wedged between them.<br/><br/>Millicent clucks her tongue against the dark man's jawline, summoning her dark minions. They quickly coalesce and surround them in a hazy shroud, her free arm tucking around his, turning him and leading them to an open doorway.<br/><br/>The doorway allows an empty hall, many apartment doors, much commotion from behind some. At the end of the hall room 13's door stands ajar to a lightless apartment. She urges him inside, heel kicking the door closed, shadows falling and snaking under the doorway to return to their home.<br/><br/>Arella has passed out, and Millicent leaves him at the entry as she makes way in the darkness to an adjoining room, carefully putting the child in her bed, offering a kiss to her small forehead.<br/><br/>She returns to the main room, eyes now cleared, standing feet from him. Her tone soft so as to not wake the little one, she speaks matter-of-factly, "you what...? You need...? We all need and want. That's a given. What do you want from me?"