The confrontation is a conversation. Wexler can unmake eighteen years with a phone call — the house, the job, the name, the surname Casey carries — and what he offers is for Ray to go back to being dead, properly this time, in exchange for everything Ray built staying standing for the person living in it.

It is a genuinely good offer, and it should be written as one. Ray takes it seriously. A version of this ending where he takes it is not obviously the wrong ending.

What breaks it is Casey, who is the only person in the story who was never given a choice about any of this, and who is done being decided for — by Sarris, by the debt, by her father's eighteen years of protective silence, by a man in an office with a file.

Leave the last movement open. The available shapes:

• He goes back under and she lets him, and the last scene is her at a lunch a year later with a man who isn't there.
• She makes the thing public in a way that costs Wexler more than killing Ray would, and they both live on as people who can't be put down quietly.
• He finishes the tidy-up in the other direction, and she is the one who has to decide what to call him afterwards.

Whichever it is, it ends on her, and it ends on the question the title has been asking the whole time — whether the eighteen years of window estimates were the disguise or the man, and whether a daughter gets to be told which.