The Book of Someday Part 14

A small, heavy, stone statue-a woman holding a basket of fruit-is on the table near the sofa. Livvi's hand is closing around the woman's neck. For the first time in her life Livvi is being moved to violence. Tempted to smash the statue into the side of Andrew's head. To somehow avenge the wrongs that have been done to Grace.

Livvi, with the statue clutched in her hand, is rapidly moving toward Andrew. "I don't believe you do spend time with Grace. I've been with you for seven months. I would have known if she was part of your life."

There's a sudden flare of anger in Andrew. It's white-hot and stops Livvi in her tracks.

"Grace has been here from the beginning, Olivia. She's the reason I walked out on you. That first night, at the fundraiser. I got a text from the nanny. Grace had a fever. They couldn't get it down, and they were thinking about taking her to the emergency room."

Livvi's mind is going to the stick-figure drawing. The torrent of black lightning and the little girl in the lemon-colored skirt. All alone. Hiding in a forest of flowers. It's as if Livvi is talking to herself, not Andrew, as she asks: "When were you ever together? When was she actually with you? And how did I never know?"

The anger in Andrew has been replaced by what seems like overwhelming weariness. "You didn't know because I saw her on weeknights when I wasn't with you. When I said I was working, or tired. And on weekends. When you were out of town at book signings. A lot of times we go to the park, the zoo, we go to lunch. I have Bree bring Grace to my office during the day."

Bree. The girl with the lavender shorts and the BMW.

The memory of her sets off a flare of jealousy in Livvi. "Is she really Grace's nanny?"

Andrew seems offended by the sarcasm in Livvi's voice. "What the h.e.l.l are you implying?"

"Most nannies don't drive brand-new BMWs."

Andrew flinches. Closes his eyes. Turns away.

He goes to the sofa and sits. His head dropped between his shoulders, his elbows on his knees. In a dull monotone, he says: "The car is Kayla's. It belongs to my wife."

Hearing Andrew say those words: My wife. It's as if Livvi's heart is taking a flurry of cuts from a freshly sharpened razor.

After a short pause, Andrew tells Livvi: "I'm not sleeping around."

And Livvi, reeling from the burn of those cuts to the heart, asks him: "Is that the same story you tell your wife?"

Andrew looks up, annoyed. "Hold it right there, Olivia. You've got no idea what you're talking about. Kayla and I have been married for eight years." He raises his voice, stopping Livvi before she can interrupt. "And we've been separated for close to three. Long before I ever met you."

His tone is quieter as he says: "There are a lot of reasons we haven't gotten a divorce. The situation with Kayla is difficult. She's emotionally frail. An innocent. Old-school Catholic. My first marriage, the one I told you about when you and I were in Canada, it lasted a couple of months and was annulled-in Kayla's mind, this is the only marriage for either one of us. She's also very close with my parents. Me pus.h.i.+ng for a divorce would've put incredible stress on her, and on my folks. And the truth is, until I met you, I didn't have any reason to want a divorce."

The weight of the stone statue is heavy in Livvi's hand. She wants to put it down, but can't. The anger-the blistering sense of betrayal-is holding it too tightly.

Andrew seems to be terribly upset as he's saying: "Kayla wasn't the one who wanted our marriage to end. When I left, it almost killed her-I felt like I was clubbing a baby seal. Every time I see her, I still do."

A dry, involuntary laugh comes out of Livvi. She's dying inside as she's explaining. "I spoke to your wife, Andrew. She doesn't come off as an innocent, or a baby. I called her-to try to let her know where Grace was. She screamed that I was a b.i.t.c.h and hung up on me."

In the midst of her desolation, and her fury, Livvi is experiencing an irrational need to have Andrew hold her, console her. But he's staying where he is, on the sofa, informing her: "First of all, Kayla wasn't being callous about our daughter. When she got that call from you, she thought you just wanted to rub her nose in the fact that I was seeing someone-she had no idea you were calling to let her know where Grace was. Bree had told her Grace was fine. When Bree left Grace at my place this afternoon, she saw Grace go inside after somebody opened the door-she a.s.sumed it was me."

Andrew has gotten up from the sofa and is restlessly pacing the room. Repeatedly circling past Livvi. Without looking at her.

And Livvi, left alone, listening to him defending his wife, is slowly filling with an aching need for mercy.

While Andrew is insisting: "I want you to understand...it's hard for Kayla...the idea of me being involved with anyone else. It tears her apart." He deliberates, then quietly says: "That's why I didn't tell you about Grace. If I'd told you, you would've wanted to meet her and I couldn't allow that to happen."

Again there is the sensation of dying inside as Livvi asks: "Why?"

"Because if Grace knew about you-Kayla would've known, and she would have lost her mind. I didn't want to expose Grace to that kind of drama. She's already been through enough."

Livvi wonders if this explanation was meant to make things better, to lessen the ache: it hasn't. "I was never really part of you," she says. "I was excluded. Disposable."

"It wasn't about exclusion, Olivia. It was about protection." Andrew waits until he and Livvi are looking directly into each other's eyes before he tells her: "I hid Grace from you to protect her. There's no other reason."

Livvi desperately wants to believe him. She wants, with everything that's in her, not to go back to being alone. While she's asking: "How do I know you're not lying?"

"All the things I've ever said to you are the truth, Olivia. I've never spoken one lying word to you. I love you. I want to be with you. That's the truth. It's what's important."

He reaches out to put his arms around her. Livvi pulls away, feeling like she's in a maze of mirrors, searching for a doorway. "The fact that you have a wife is important. You lied about that...and you lied about Grace..."

"I didn't lie," Andrew tells her. "All I did was not spell out every syllable of the truth."

Livvi thinks about this, then says: "Hiding the truth is the same as telling a lie." And as she's finis.h.i.+ng her thought, a hard edge of accusation is creeping into her voice. "The lie you told me-hiding Grace, making it seem like she didn't exist-that was despicable."

Andrew is no longer trying to hold Livvi in his arms. But he has stepped very close to her, close enough for her to feel the anger in the beat of his heart. "Before you say anything you'll be sorry for," he's warning. "Don't forget, you play the same game with me. You have plenty of blank s.p.a.ces you haven't bothered to fill in. How about the phone calls? The ones that come every once in a while in the middle of the night and leave you rattled for days? Ever talk to me about them? Ever told me who they're from?"

Livvi looks away, her anger blending with a vague sense of guilt.

"And what about the nightmares?" Andrew is asking. "When you wake up shaking and crying? What's that about? Maybe your life before you met me? There's got to be more to your backstory than that you grew up with a single father you haven't spoken to in years."

Livvi takes several steps backward, trying to put distance between her secrets and Andrew's. But he's quickly closing the gap, telling her: "You never really open up about what's down deep inside you-you toss me the Cliff Notes. I'm not an idiot, Olivia. Don't you think I know there're things in your life you haven't figured out how to handle? It was obvious from the first night in that butler's pantry, when I asked you to tell me about yourself and I saw the terror in your eyes. That's why I let you off the hook-did the fortune-telling act and turned it into a game."

Andrew is breathing hard, his words coming out in a rasp: "For me, it didn't make you despicable, it just made you human."

Livvi's response is quiet, nearly inaudible-she's not sure she's right about what she's saying. "This is different. What you did is different."

"The only difference is I'm forty-two and you're twenty-seven. I've had more time-bigger things-to f.u.c.k up."

Still lost in the maze of mirrors, and still searching for the doorway, Livvi tells Andrew: "I called you this morning at five-twenty, when the sun wasn't even up. After the weather vane crashed into my car." Her voice is rising now, not with anger, but with uneasiness. Her grip on the stone statue is inadvertently tightening as she says: "You didn't call back till after ten. Where were you for all that time?"

Andrew is grabbing the statue from Livvi's hand. Throwing it across the room, smas.h.i.+ng it against the wall. Shouting: "I was in G.o.dd.a.m.n Palos Verdes!"

He draws a deep breath, and then says: "I went down there to try to talk to Kayla-for the first time ever-about a divorce. Grace was spending the night with my parents, it seemed like a perfect chance to explain things. I told Kayla we needed to get a divorce because there was someone special in my life, someone I love. And she completely fell apart."

Andrew is refusing to take his eyes off Livvi's. "She tried to kill herself, Olivia. I had to stay with her."

Before Livvi can speak, Andrew clamps his hand over her mouth. "I stayed because I didn't have a choice. The mother of my child needed me." He gently lifts his palm away from Livvi's mouth, and says: "Yes, my phone was off. It was necessary. Me taking calls and sending texts would only have pushed Kayla over the edge. As it was, it took her until midmorning to calm down enough to fall asleep-and when she did, my first call was to you."

Andrew looks at Livvi tenderly, for a long moment. "If you were my wife, wouldn't you want me to take care of you...the best way I could?"

He seems to be begging for Livvi's compa.s.sion. "I feel responsible for what's happened to Kayla. I'm the one who walked away, the one who broke the promise. I owe her a soft landing. Please tell me you understand."

Without waiting for an answer Andrew pulls Livvi toward him. His kiss is as possessive and full of desire as it was on that first night-the first time he ever touched her. And for an instant, there is that spellbinding chemistry-that feeling in Livvi of ascending into paradise.

She's melting. Forgetting. Wanting to forgive.

But then she thinks of Grace. At the bathroom window. s.h.i.+vering and alone. Waiting for her daddy.

And Livvi is stepping away from Andrew. She's saying: "You need to leave. You need to get Grace and take her home."

Andrew seems ready to insist that they stay where they are and work things out-but then he appears to change his mind, and lets Livvi lead him toward the bedroom.

As he's following her through the bedroom door, Andrew says: "You and I love each other. Nothing is going to change that."

Livvi stays silent. She doesn't want to lie to him. And can't tell him the truth. She doesn't know what it is.

When they arrive at the bed, where Grace is sleeping, Livvi positions herself in front of Andrew-momentarily blocking his access to his little girl.

Livvi pa.s.sionately wants to stay with Grace. To protect her. Hold on to her; never let her out of her sight. But Grace is Andrew's child, not hers. Livvi understands she has no power to do anything but step away.

When she does, it's as if her heart is being ripped out.

While Andrew is taking his place at Grace's side, Livvi hands him the lightly woven woolen throw that's at the foot of the bed. She watches as he wraps Grace in it, reverently-and carries her toward the living room.

Grace and Andrew are slowly disappearing from sight. Grace, in a half-sleep, is murmuring "Daddy!" in the same awestruck way she might whisper the word "Magic!"

In hearing that murmur Livvi is being drawn back into the place where she is Olivia-hungering to feel the beat of her father's heart, and the warmth of his embrace.

It takes several long moments before Livvi returns to the present. Before she realizes that her phone is ringing.

When she picks the phone up and puts it to her ear, a whispery voice is asking: "Olivia, is that you?"

And there is the sensation of fire and snakes and knives in Livvi.

While the whispery voice is telling her: "If you don't listen to what I have to say, you will regret it until the day you die."

Micah.

Newport, Rhode Island ~ 2012.

A light wind is whispering among the shadows. In the portico. Rustling through the sea of potted palms. Traveling across the black marble steps. And over the tongue-shaped bra.s.s knocker that Micah, only seconds ago, let drop-and bang-against the door of this crumbling, subdivided mansion in Newport.

A sudden squeak has come from behind a second-floor window. The drapes have been opened, stealthily. For a half-second, Micah is genuinely frightened.

A crackle is sputtering from the intercom speaker near the door. It's being followed by a hush-a void in which someone is listening, hovering. Deciding.

Micah is suddenly exhausted. She rests her forehead on the intercom's rusted, mesh-covered mouth. It has a stale, musty smell. She breathes it in, like a punishment.

After several long beats, she asks: "Do I have to beg you to open the door?"

The hush continues. And continues. Until a woman's voice, an arrestingly rich contralto, announces: "I don't receive visitors anymore. Go away."

Micah steps back from the intercom and looks toward the second-floor window-arms raised, face upturned. Waiting to be seen, to be acknowledged. The hush remains unbroken. The impact of this is like being stripped naked and rolled through broken gla.s.s. And Micah wails: "Do you really not recognize me?"

A pause. Followed by an indistinct noise at the other end of the intercom. "Are you someone I knew well?" the woman asks.

"No," Micah tells her. "I'm your daughter."

"Cry Me a River." That's the song that's playing-the lyrics that are being sung. "Cry me a river, 'cause I've cried a river over you." The singer's voice is enthralling. Luxuriantly rich and limber in its power and sensuality.

Micah, frustrated with trying to be heard over the volume of the music, is searching for the sound system's remote control. Her mother's ornate second-floor sitting room is cluttered with a lifetime's worth of knickknacks and memorabilia.

After a while, Micah discovers the remote on an enormous tabletop crowded with crystal figurines and dominated by a large, framed portrait. The photo, circa 1970, is of a voluptuous brunette onstage at the London Palladium-her low-cut dress displaying her figure to eye-catching advantage as she's bowing to the crowd, receiving a riotous standing ovation.

Micah clicks the remote. The music fades. And her mother says: "I thought you were one of my fans-it's why I didn't recognize you right away." She's stroking the fur of the large, smoke-colored cat that's curled in her lap. With each pa.s.s of her hand, she's watching the light from the window dance across the jewels on her ringed fingers. "My fans are incredibly loyal," she's telling Micah. "There are always emails, letters...and, quite often, visits."

Her mother's face, an older version of the one in the framed photograph, is serene as she's watching Micah. But her tone has an undercurrent of accusation. "I couldn't have survived without the love and concern of my fans. They are the only thing that sustains me. Without them, I think by now my heart would be completely broken."

This is meant as an insult, a well-placed barb. Micah sidesteps it. Determined not to take the bait-not to open the floodgates and let the demons loose. Determined that this time, things will be different. Because this time things are different. Micah may be dying. And before it's too late, she needs to find someone: someone who knows her, who is willing to give her comfort. And reconciliation.

Her mother has turned toward the window, and Micah is wondering if she's looking at her own reflection-taking an impromptu inventory of her ongoing battle against time. a.s.sessing whether or not, beneath what is now soft and fleshy, she can still find some trace of what was once firm and ripe.

Her mother's voice is a sigh as she transfers her gaze from the window to the cat and quietly says: "I looked forward to my motherhood with such excitement and it turned into such disappointment." Then she sits up very straight and speaks directly to Micah. "I expected it to be absolutely miraculous, and you took all the joy out of it."

She's shaking her head, puzzled, as she adds: "When you were a baby, you wors.h.i.+pped me and that was sublime, but then when you were a little girl for some reason you changed. You became outrageously selfish. No matter how much I gave you, nothing was good enough. You always wanted something else." A tremulous, wounded quality is creeping into her voice. "You were horrible to me. You were a horrible, horrible little thing."

This barb has. .h.i.t its target-the floodgates are open. The demons are loose. And Micah tells her mother: "They should've ripped your uterus out the day you were born."

"How dare you...? I was a magnificent parent. My G.o.d, you celebrated your sixth birthday in Paris and your tenth at the Sydney Opera House."

"I was backstage on a cot at the f.u.c.king Sydney Opera House. With an ear infection." Micah's need for comfort is being overwhelmed by a furious desire for justice. She's slamming the remote against the tabletop, again and again, sending waves of crystal figurines smas.h.i.+ng to the floor. "I saw you for maybe five minutes in Australia-during a costume change. And Paris was being alone in a hotel suite with a boxed birthday cake and a rented babysitter. You were across town, launching your ten-millionth concert tour."

Her mother cuts her off with a shout. "Your G.o.dd.a.m.n birthday present was a ruby and gold bracelet specially made for you by a jeweler who worked for Cartier. Do you know how excited I was about that present...and how much you hurt me when you weren't?"

"I was six. I wanted a dollhouse!"

"See? See what I mean? Nothing was ever enough for you. Not the presents, not the trips. Not even my getting you into Harvard."

"I got into G.o.dd.a.m.ned Harvard on my own!"

"You can't be simpleminded enough to think once they found out you were my daughter...which I'm sure they must have...that it didn't help."

And through gritted teeth, her mother adds: "What did you do in return? You threw it in my face and dropped out."

"How in h.e.l.l did my time at Harvard have anything to do with you?"

"That you could even ask...shows how blind and ungrateful you are." Her mother is now cuddling the smoke-colored cat to her chest, like a child soothing herself with a favorite toy. "Everything you had, everywhere you were able to go, was because of me, because I lived my life as a sacrifice."

Her mother lowers the cat into her lap and glares at Micah. "Do you give any thought to that-to how much I sacrificed for you? I worked three-hundred sixty-five days a year. Never missing a concert or a recording session. Never refusing an interview, an autograph. Always providing you with the best. The best clothes. The best schools. The finest tutors. You weren't raised by some drab, faceless little housewife. I gave you the gift of being the child of a music icon-"