loudly. âWhat in heavenâs name was
that
? âBout scared me silly.â
âTheyâre goths or whatever. They come out here to get away from their parents and act weird. No harm to it.â
âWell, they scared the holy bejeezes out of me.â
He aims the flashlight toward where theyâve walked off.
âTheyâre gone, Selwyn. Everythingâs okay.â I rest my chin on my knees and close my eyes. As far as Iâm concerned, it would have been perfectly fine to watch Hailey grow up to be an unruly, weird teenager.
âYou okay?â
âYeah,â I whisper. âWe should probably get going.â
I donât move, though. Instead, I draw Selwynâs jacket around my shoulders and continue staring at Haileyâs tombstone. Itâs those dates edged above her name that do me in. When I feel Selwynâs hand on the back of my neck, I take in as much air as possible and slowly exhale. âIt was a car accident, in case youâre wondering. We were on our way to school.â
What I donât say, though, what Iâve never told anyone, is that the accident was entirely my fault. I was like any other parent in a rush to get her child to school, but I was driving too fast and ran into a truck. Thereâs no other way around it. Sheâd be here today if not for me.
I stand abruptly. âAnyway.â
Selwyn begins to say something, but thinking better of it, remains silent. He stands and takes my hand. We hold hands briefly until I pull away. âLetâs go.â
â¢Â   â¢Â   â¢
W e pull up to a quiet residential street in Berkeley. Elm trees and cedars line the sidewalk; every house is dark and quiet. I gesture toward a 1930s craftsman in need of a paint job. âThis is it.â
Selwyn cuts the engine and looks out at the row of houses and trees. Iâve confounded him yet again. âI thought you wanted a drink.â
âI do. My husband lives here. Full bar.â
âHusband?â
âEx,â I say, slapping my hand against my forehead for effect. âEx. I keep forgetting to add the ex part.â
âHow long have you been divorced?â
âNot long enough that I can remember the ex part.â
He eyes the house guardedly. âSo this ex of yours would be . . .â
âSpence. Spencer.â
âYouâre just going to stop byâat this hour? Itâs one in the morning.â
âWe didnât have that kind of divorce.â
He thinks this over while continuing to stare at the house. The porch light is on; then again, itâs always on. Spence figures that by not turning it off, he wonât have to remember to turn it back on. Itâs the same logic he used when he decided to replace our garden, once filled with flowers and succulents, with a blanket of flat green grass: No more flowers meant no need to worry about gardening.
âSo youâre saying he wonât mind if I show up with you?â
Now Iâm confused. âSelwyn, youâre not showing up with me.â
âIâm not?â
âOf course not.â
âWhy not? Iâd like to meet him.â He pulls his shoulders back and takes another look toward the empty porch as though Spence might step outside at any minute, strapped with two guns and ready for a duel. âIâd like to meet this ex of yours. Weâll have a quick drink, and weâll say our good-byes.â
â
We?
Selwyn, I donât think you understand. Itâs late. I think we should call it a night.â
âWhat do you mean? Come on, Kilowatt. The nightâs young. Weâre just getting started.â
âNo, Selwyn. Iâve kept you long enough. I really appreciate everything youâve done for me tonight. I do. You were a real hero, but we should probably say good-bye.â
âAll right,â he says. âSo when am I going to see you again?â
I
Jean-Pierre Alaux, Noël Balen