Читать книгу The Sadness - Benjamin Rybeck - Страница 10

Remember Kelly? This city holds thousands of her ghosts.

As she drives into Portland today, Kelly sees them everywhere. Ghosts in the gas station parking lots where she drank cheap coffee and smoked cloves when young and flailing and moody. Ghosts outside the pubs where Mom inflated her stomach with beer and then called her daughter for a ride. Ghosts on the sidewalks Kelly paced stoned in the months after Mom died when she didn’t know how else to get the energy out. Even the snowbanks look like ghosts—the ghosts of storms she lived through as a teenager. Kelly left this town eleven years ago, but she remembers so much of it, so much of her life here.

And because of this, it kills her how little she remembers about her father.

Oh, there are some images, some feelings—sitting on his lap while he and Mom watched some artsy-fartsy black-and-white movie in which nothing happened, his fingers gliding across the underside of Kelly’s arm while she closed her eyes and her lungs deflated—but she was only three or so back then and not much stuck. She does remember the word though: Girly—what he used to call Mom, and what he used to call his daughter. Once, when Kelly was fifteen, long after her father had left for good, she asked Mom, “Do you know where he is?” Mom jingled ice cubes against the side of her glass as she swirled cranberry juice with vodka. There was music in the other room; she was having a party. “He could be anywhere,” she said.

Anywhere, indeed. Even years later, whenever Kelly jabbed her father’s name, Miles Bennett, into Google, information was scarce. Despite the prominence of the Bennetts in Portland, Miles rarely came up in news stories—according to Mom, he had always been reclusive and uninvolved in the family business, Oakhurst Dairy—and until a week ago, Kelly had no reason to believe he still lived in Maine. But there’s cash there, Kelly believes—no, knows, goddamn it: significant cash, a pregnant cloud of cash over his head, the sort of cash he drizzled from time to time on his estranged family after he’d scrammed. So a few days ago, Kelly scrounged online and scribbled down the names of every Bennett family member she could find involved with the dairy; then she scribbled down—seriously scribbled, her handwriting getting worse and worse, letters seeming to gather tangles of brambles on every curve—as many Bennett names as she could find in the White Pages that sounded even vaguely familiar to her, names that maybe Mom mentioned once or twice. She will visit these people—twenty-seven total—until one of them tells her where to find her father, who has to still live in Portland, has to. And when she finds him, what will he say? Maybe he will open his front door, maybe he will smile white teeth at her, maybe he’ll look at her with those black-ringed eyes—almost beaten looking—and maybe he will say, “Girly—finally.”

But first, Kelly needs her twin brother, Max, though she hates to admit it. Or, more bluntly, she needs a place to stay. So she takes a right, surprised to see a steep decline in front of her. Her wheels scrape rock salt. The car wobbles a bit. Eventually, the road flattens, and she takes a breath and wipes her eyes. Still crying. Cried the whole goddamned drive out here. She points herself toward the only place she knows to find Max: the crammed, beat-up apartment where Mom raised her two children amid faded movie posters and scuffed album covers and scratched records adorning the walls, bead curtains in every doorway, a kitchen filled not with food and plates and silverware but with empty Thai take-out containers. If her brother isn’t there, he shouldn’t be too hard to find, wandering the Old Port, visiting the movie theater or the video store—this, of course, assuming he still lives here at all. Kelly didn’t exactly call ahead to check.

But then, where else would Max have gone?

Turns out she spots him well before she reaches the apartment. A quick glance out her car window as she passes a man with hunched shoulders and a torn peacoat that shows off patches of white fuzz underneath, and hey, there he is, wandering the Old Port, just as she expected. She can make out something in his hand—a book, maybe, clutched there, with paper sticking out the top like a bookmark. She keeps her eyes on him as she passes. His face looks so thin, and his curly hair tangles atop his head with no clear order—probably ages since a haircut. His mouth moves; talking to himself? He walks down the street in the slush, not even on the sidewalk. Maybe somebody needs to stop him, point to the relatively dry cement, and say, Probably safer for you over there, sir.

This is Commercial Street, where the tourists come—the most public part of the city, lined with shops with names like Nautical Treasures and Mainely Goods, selling moose hats and lobster claws you can wear on your hands. At least it’s wintertime, and a particularly frigid day at that, so there aren’t tourists gawking at Max. Still, summer will come—hard to believe, with the city encased in ice.

Kelly finds parking out front a Yankee Candle store, where a teenager in skinny jeans smokes a cigarette. She thinks about bumming one off him, but before she gets out of the car, he steps out his filter on the ground and heads back inside. After checking her face in the mirror once more, she unbuckles her seat belt. The cold outside feels like something physical, a mass of wind chimes hanging in the air that she has to climb through. She positions herself near her trunk. Should she hop onto it? Sure, she decides, why not? But when she tries to jump, her foot skids off the slick bumper; she plummets onto her ass. She regains her footing and reaches into her hoodie pocket, deciding to stand. Casual. No, I’m not doing anything—just hanging out.

“Very interesting,” Max is muttering to himself as he approaches, eyes cast down. “A story of perseverance, you might say…”

“Hey there,” Kelly says in the most ridiculous rendition of a New England accent she can muster. Max looks up, his head snapping back as though yanked from behind by a mugger, eyes landing, terrified, on his sister, like she’s got a knife to his throat. “Sorry to interrupt,” she says, “but can you tell me how to get to Bean’s from here?”

Not an ideal opening line, she knows, this attempt at some good old-fashioned Maine humor—barf—but what else could she say after all these years? Something more meaningful? Give her a break—she has never done meaningful well.

“Oh,” Max says. “You.” And then nothing. Water streaks the lenses of his glasses, either from sweat or from passing beneath melting snow.

They stare at each other as if meeting for a blind date. She sees him completely for the first time in years, and he looks no different from before, still dressed like he used to in high school, in too-big dress slacks, sneakers, and an oversized button-down shirt and peacoat. All his clothes look like something a much fatter father handed down to his son.

“I can’t really talk now,” he says. “I’m busy.”

“You’re busy?”

“Yeah.” He looks down at his muddied sneakers.

Kelly throws up her arms. “Too busy for me, a Christmas miracle?”

“Christmas isn’t for another two weeks,” Max says.

“So? I’m moonlighting as Santa. I brought you presents.”

She expects at least a smirk—something. Instead, he mutters, “Dreadful timing, absolutely dreadful,” a line so unexpectedly ornate Kelly imagines he must’ve nabbed it from a movie. With that, Max lifts his feet and gets back to his walking.

“Where are you going?” she asks. No answer. He heads down the street, veering farther into the road to get around a pickup truck hanging out of a parking spot muddied with rock salt; an oncoming car honks but does not swerve, passing perilously close to Max. This is stupid. “Can you stop for a second?” she calls after him.

He responds with more mindless marching—and probably more muttering too, as far as Kelly knows. So she cups her hands around her mouth. “Police!” she yells. “Apprehend that man! Get him out of the street!”

He looks back. “Why are you harassing me?”

“Because,” she says, taking a step forward, speaking to him over the chasm of the pickup’s bed, “it’s nice to see you.”

He stares at her, another drop of water falling down his glasses. Sweat. Now she knows. “It’s nice to see you too,” he says, so quietly she maybe imagines it.

She checks over her shoulder to make sure no car heads her way; then she walks into the street to get around the pickup. Face-to-face they stand. She curls her arms around him for a hug, but he doesn’t move, making her feel like a straitjacket. When she unwraps him, his face is all red, but not in a teary way. His face is red like something else—maybe the igniting match-head of his nasty temperature (one of Mom’s old malapropisms, saying temperature instead of temper, and one Kelly has never been able to avoid). Whatever his redness, Max avoids her eyes. “Let’s talk,” she says, watching for something—a twitch even—but his face appears frozen. “I need to crash.”

“No, no,” he says, “that won’t be possible. Not right now.”

She nods, feeling her lips tighten. Behind Max, something jingles, and Kelly sees a man dressed smugly in a floral scarf and a beret entering a shop, the decorative Christmas bells knocking against the glass. She looks at the sunlight glinting off the closing door as an excuse to not look at her brother, even as she says, “Let me put it differently. I’m not asking if I can stay with you.”

“But you can’t,” Max says. “It’s my place.”

“According to what? Mom left it to both of us.”

“It’s our place.”

“That’s right.”

“No, not yours and mine. I mean, I have a roommate. There’s no space.”

“You have a roommate?” Kelly asks, her voice cracking a bit, if even just a hairline crack. Max has never had a roommate before in his life. He could barely live with his own sister and mom. “What’s his name, your roommate?”

Max blinks. “Tobias,” he says.

“You have a roommate named Tobias? Who the hell is Tobias?”

“My roommate,” Max says flatly. “See, we’re in a pickle. Plus, it’s a bad time. I’m busy.”

“With what?”

“Just… stuff.” His eyes dart to the book he holds in his hand.

“What stuff? Being a bookworm?” She reaches for Max’s book and, curling her fingers around it, tries to snatch it away—just as a tease, just to see what he’ll do.

He pulls the book in the opposite direction, flinging his own body backward to keep his sister from what he holds. They struggle, feet sliding on the ground; the twins turn themselves around once, maybe twice. The book opens, and something slips out: a piece of newspaper, fluttering to the ground. “No,” Max snaps, voice sharp in the cold air, and it startles her. So she lets go, and Max falls backward against the pickup truck’s front mirror. He makes a farting sound with his lips that he probably didn’t mean to make, and then he springs forward again—but he’s too late: Kelly has already bent her knees, already picked up the strip of newspaper.

“It’s wet,” he says, reaching for it. “Lemme dry it.”

She pulls it away. “It means so much you wanna tear it?”

He growls. “None of your business what I have, what I do. Give it back. Give it back. This is harassment, listen, I’ll, uh, I’ll call the police.”

But Kelly already sees it. It’s a newspaper column with jagged edges, appearing cut out in a frenzy by shaking hands. At the top, a black-and-white photograph of a sunken-cheeked young woman with large, almost oblong eyes and hair pulled back into a ponytail, her mouth open in a garish smile—the expression of a jubilant wax figure in the middle of melting. The headline reads “Search for Missing Local Girl Intensifies.”

“Who is this?” Kelly says. But as soon as she says it, it clicks: the face of the girl, and the name, Evelyn Romanoff, even though when Kelly knew her before, the girl’s face never drooped. “Shit, man. This is your friend, yeah? Evelyn? The one who was in your movie in high school?”

Max stops panting, gets quiet.

“What happened to her?” she asks.

“Give it back,” Max mutters, reaching out again, his movement almost drunken.

She returns to the article, to the text. It’s short, so she scans it quickly and gets the gist: apparently nobody has seen Evelyn since last Friday—so, almost a week ago—when she neglected to show for work and then for a weekly wine bar date with a friend. The work thing didn’t raise any flags, really; according to the article, she’d been missing work a lot lately, was holding on to the job as a waitress at DiMillo’s only because she’d had it for so long and it’s always harder to fire somebody who has been around for a while. But missing the vino? Her friend (well, more like a guy she was casually sleeping with—so the article makes it sound like, anyhow) knew something was definitely wrong, so he went over to her apartment and found—well, didn’t find her. That’s the whole point. She was just gone.

From there, the article goes on to discuss the investigative efforts thus far, and how police have managed to assemble a vague timeline of her activities the day before. It was a rough afternoon for her: She went to go see a film at the Movies on Exchange—just around the corner from where Kelly and Max are right now—at noon. Then she paid a strange visit to Casco Bay Books, a coffee shop where she used to work. According to an employee, Evelyn used the bathroom and then claimed a table, where she opened a notebook and scribbled for thirty minutes without looking up, after which she tore out the pages, hit the parking lot, and burned them. Then, around four in the afternoon, witnesses saw her walking down Commercial Street, crying—

At this, Kelly looks up from the article, looks around at Commercial Street, with its shops and slushy roads, a smattering of winter people wandering in their heavy coats, window-shopping, pointing at cute trinkets inside stores and sighing—then she looks at her brother, who stares right back at her. “Is this what you’re doing out here?” Kelly asks. “Trying to find her?”

Max turns and rests his head against the pickup’s door. Is he about to cry? How the fuck could she possibly deal with that? She still feels on the verge of tears herself, and watching her brother lose it would trigger what happens when one little kid sees another little kid start to wail: all hell would break loose.

Then, his face pressed to the glass, she hears him mutter something she doesn’t quite catch.

“Hmm?”

He lifts his head from the pickup. “You’ve interfered with my schedule. My timing is all off now. So we might as well eat.”

Only when Max walks away from the pickup, leading the way to God knows where else, does Kelly notice a young boy inside, staring out at them behind tinted windows—a boy who was there all along, watching the foolishness of grown-ups with a smirk on his face.

The mirror in the pub’s bathroom reveals how awful Kelly looks. Not just awful, but—and this word has rattled in her head ever since Max used it on the street—dreadful. Eyes, lips, hair—everything droops, like Evelyn in the photograph. If Kelly were an idiot, she might also claim that her soul droops, but she’s not an idiot, or at least not that type of idiot. She opens her purse and removes blush and eyeliner and lipstick, then applies each medicine quickly. Not knowing what to do about her hair, she collects it into a ponytail. For the grand finale, she pulls off a square of toilet paper and dabs at her fresh pomegranate lipstick.

When she exits the bathroom, the darkness of the bar steals her eyesight for a second. She feels her way along the wall, down the hallway, until she turns the corner into what a sign calls THE TAP ROOM, though that sounds too grand for this neighborhood dive, full of middle-aged men who live a block away. Maybe she knows a couple of them from her days frequenting Portland dives, back when bouncers and gobbledygook like legal drinking age were no match for a fake ID in the hand of a girl who knew how to smile. But a decade later, Kelly has put on weight, and… well, her appearance has changed in other ways she prefers not to talk about (skin blemishes, looser backside; just don’t talk about it, don’t). Forget whether she might recognize anyone; would anyone recognize her? Or care to?

Max sits at a table in the corner, his back, as he insisted, against the wall; he wants a view of everything. Kelly joins him at the table, which now wears two baskets of food. “Yum.” She tries to sound pleased, picking up a cold mozzarella stick and taking a bite; the cheese inside has already congealed. “You’re missing out.”

Max keeps his eyes on the table. He refused to order anything except ice water with lemon. Kelly was starving and badly in need of a drink, so she ordered a Shipyard (she already forgets which style), mozzarella sticks, and chicken fingers—a fairly standard meal. Hopefully Max will pay for this crap—his idea to come here, after all—although he’s likely as poor as she is. (She hasn’t yet dared bring up the subject of what, if anything, he does for a living.) She returns the mozzarella stick, half eaten, to the basket and works on her beer instead. She gulps it, nothing but warm fizz, then sets it down loudly, hoping to rouse her brother. But he doesn’t budge. So she snaps her fingers. “Earth to Max.”

He looks up and squints.

“What’s up with you?”

“With regard to what?”

“I dunno. Just, what’s up with whatever. What’s going on? Do you still have that job?”

“What job?”

“The movie theater job? Weren’t you working at the Nickelodeon?”

“No.”

“You sure? I think you told me that in an e-mail, maybe…” She turns her mouth on its side and narrows her eyes into a face that suggests she’s counting years in her head (how long ago was it?), but really, she has no goddamned clue whether anything she’s saying is true—nor can she even remember when last she spoke to Max, via e-mail or otherwise. “Maybe,” she decides, “four years ago?”

“You came all this way to see me and ask me whether I still have a job that I never had and never told you I had?”

Kelly shakes her head. “Like you know anything about me or what I’m doing.”

“So tell me something then. Tell me about your job. Do you have a job?”

Kelly stares at him for a moment. “Duh,” she says, unsure of how else to answer.

“Where do you work?”

She can’t tell him the truth: that she lost her job three months ago—followed by her apartment a few days ago—prompting this trip out here to Maine, because without work or housing, she had no real reason to stay in the Southwest, especially when Dad may be here, still in Maine, living in opulence. “I’m a manager,” she says. “At a Safeway.” A lie, yes, but also a sort of truth, since until a few months ago, this was the job she had—well, not a manager, a cashier, but still.

“You mean you run the whole Safeway?” Max asks.

“No, I manage the front. But it’s a lot of money.”

“Yeah?” Max stares at her; can he tell? “Well,” he says, “I work at Hugo’s. The tips are great. I’m doing very well for myself.”

Kelly has never eaten at Hugo’s—has never really known anyone who ate at Hugo’s, in fact. Six-course meals, servers in tuxedos, no check under, like, $500. She can’t even begin to imagine her brother working in a place like that, interacting with that clientele, squelching the more cantankerous aspects of his personality. Obviously it’s bullshit, even worse than her lie. Nevertheless, she grunts, “Hmm, well, great, great,” and clicks her tongue. Oh, such awkward politeness from both of them; at the very least, they’re even.

She tries to think of something else to talk to her brother about—something safe that won’t lead to a stalemate of dishonesty—but nothing other than movies has ever interested him. He was always so single-minded, certain he would become a famous director one day, never preparing for the eventuality that he would fail. Now look at him. Thirty, she supposes, hits the Enrights like a gunshot.

“So,” she says, trying, “did you see Dark Knight Returns?”

“Rises.” Max closes his eyes; he can’t bear to look. “He rises in this one. He returned in 1992.”

“Huh.” Kelly shrugs and drinks more beer. The liquid fills her. She might not need to bother with the chicken fingers. “Well, did you see it?”

“Of course I saw it.”

“It was cool. Kind of long, though. Awful, what happened in Colo—”

“Christopher Nolan exists only to make idiots think they have good taste.”

“Huh. Well, I thought it was good.” She fights to keep her voice friendly.

“I try to explain that to people,” Max mutters. “About Nolan.” At some point he’d grabbed on to his fork, and Kelly notices that he now squeezes the utensil. “People need to listen to me.”

“Oh. Sorry, I guess. If I could unsee it, I would.”

Max mutters something else, but she misses it. She keeps an eye on the fork squeezed in his fist. If he jutted it in her direction, could she dive out of the way in time? Not that he would do this, though; Max inflicts harm upon inanimate objects, not people. But her brother has always had a temperature. Whenever he got mad in the old days—someone around him not adequately appreciating his genius—he would lock his door and beat his bedroom to death. He’d reemerge into the world with splinters in his hair.

“So,” Kelly says, “do you want to tell me about Evelyn? Do you still hang out?”

“Every day,” he mutters.

“Have the cops asked you questions?”

He shakes his head. “I don’t know what happened to her.”

“Not really what I asked, but okay.” Kelly eyes the book sitting between them on the table. “It’s awful anyway. Her, Dad: people around us just… disappear, I guess.”

“Dad didn’t disappear. Someone knows where he is.”

Kelly bites her lip. Not time to bring up Dad yet. She can’t guess how Max would react if she told him about the phone call she got a week ago.

“So,” she says, “your plan is just to walk around, trying to find Evelyn?” “I’m going to the places she went,” he says.

“You can get time off from Hugo’s to wander around?” A bit of a cruel poke, yes, and a violation of their liars’ détente. She must take greater care to avoid a fight.

“I just told you,” he says, eyes on his fork. “I’m not wandering. I know where she went. They have it right there in the paper. So that’s what I’m doing: going where she went, when she went there. According to the paper.”

“For how many days now?”

“This is my second day.”

“What happened yesterday?”

“I fell. On some ice. I hurt my ankle and couldn’t walk. I had to call a cab to take me home. But today my ankle felt better, so I went out to try again.”

“And that’s when I found you?”

“That’s when you interfered,” Max says. “The timing needs to be perfect.”

“Perfect for what? You think she’s going to magically appear somehow?”

“Because the timing,” he says, then closes his eyes and exhales in frustration, an actor blowing a line and starting again. “Because the timing is important. Timing is always important. Nothing bad happened to her, I’m sure. She just went somewhere. So if I go to the places where she went, then maybe I’ll figure out what particular things happened to her the day that she disappeared that led to her going wherever she went.”

“Because every day happens exactly the same?” Kelly says, raising an eyebrow—and, yes, maybe even smirking, goading him just a tad.

To answer her attitude, Max widens his eyes into a quick, unhinged look that suggests her worst fork-related fears might come true. But then he shakes his head and issues a shallow snort. “Magically appear, yes. You’re right. You were right the first time.” He rolls his eyes and makes a get-a-load-of-this gesture with his thumb, performing for nobody in particular.

Hearing him talk like this, Kelly isn’t sure how she should feel—angry that he almost blew off his sister today for this wandering nonsense? Of course, it’s possible Evelyn could be in some real trouble. But Kelly remembers her well enough: a little flighty, a little mysterious, the kind of girl who gets labeled odd all through childhood. Sometimes people need to disappear for a little while. Sometimes it’s nothing to worry about.

“Well, what do I know?” Kelly says. “I mean, I guess you knew her better than anyone if you hung out every day. Maybe if you go out looking, you can find something the cops missed.”

No answer—just eyes tipping like a capsized boat as he glances down at his book, still on the table between them.

“Can I see this?” Kelly asks, tapping the cover.

“I don’t know,” Max says. “Can you?”

She sighs. “You were always such a wit.”

Max pauses for a second as the jukebox music—that whiny Neil Young song about being an old man, which always sounded to Kelly like a feeble-minded fellow in a nursing home wrote it between bouts of yelling at the grass outside his window—fills the air. Somewhere, somebody bangs glasses—a sound from behind the bar, not a noise made by one of the two or three other patrons here, all of whom are old men in overalls. After a second, Max nudges the book toward her, granting her permission to look by scraping the cover against the patina of sticky beer mess on the table. “It’s about a film,” Max says. “What do you care about that anyway? You don’t like films.”

She picks up the book before her brother changes his mind. “Maybe not compared to you. But in my defense, I don’t think anyone watches movies the way you do.”

“Mom did,” Max says. “And Evelyn.”

“Well,” Kelly says, opening the book, “I stand corrected.”

The book feels awful in her hands, flimsy, the paper poor quality, and she can tell immediately, even with her limited knowledge of publishing, that this book wasn’t made professionally; instead, it feels like the sort of thing somebody paid to publish—maybe even ran off the copies at Kinkos. The book, called Land Without Stanford: A Cult Film and the Reclusive Genius Responsible, claims (according to the cover anyway) to tell the true story about Land Without Water, a little indie film Kelly has never had the patience to watch all the way through, but about which she still knows three things: First, it was filmed in Portland a few years after she and Max graduated high school. Second, the very fact of the film, which Max loathes, reminds her brother of his own—um, what’s the polite way to put it?—unfulfilled ambitions. (Years ago, after seeing it for the first time, he phoned her and ranted for an hour without asking a single question about her life. After that, she made a point of being too busy to take his calls.) And as for the third thing Kelly knows about the film? Let’s not mention the third thing, because Kelly would prefer not to think about it right now.

As for the book, though, the author is a guy named Ford Hunter, and as Kelly flips through the pages, she picks up a bit here and there: Hunter was an actor in Land Without Water, apparently, and the book is full of jazzy bits of reminiscences, a lot of stuff about a guy named Darren, who seems to be the film’s director. “Is this even a real book?” she asks.

“The guy self-published it a few weeks ago,” Max says, “but you can buy it in bookstores here. Just in time for Day Without Water.”

“What’s Day Without Water?”

He rolls his eyes at her. “What kind of a Mainer are you?”

“Oh come on, I haven’t lived here in ten years.”

“Eleven,” he says—and it startles her that he knows well enough to correct her. “It’s a winter arts festival they do each year. They do screenings down on the pier. People sell things. Next one’s on Sunday.”

“And it’s all about Land Without Water!”

“No,” Max says. “More like inspired. Just an excuse to have a festival.”

Kelly looks back down at the book and glimpses one passage: And Darren didn’t believe me, but I told him, “Man, after we make this film, we’ll get all the girls we want.” Kelly grimaces. “God, I thought you said this movie sucks.”

“I don’t like the film, no. But it’s more complicated,” Max says. “I sent you something I wrote about it once, remember?”

She was wondering if this would come up. For years after she left home, Max had sent her things—mostly movie reviews that he typed up and mailed to her with notes that said things like Keep an eye out for this one in the Phoenix (as if she still got copies of the Portland Phoenix all the way out in Tucson)—but she shrugged at them and put them in a box. Of course, she can’t tell him this. So she says, “Oh, right, maybe I remember that one. You sent me a lot of stuff, though. Then you stopped. I was bummed.”

“Sure,” Max grumbles. “I’m sure you really miss getting them. I’m sure they were the highlight of your life. Especially after you changed your address and forgot to tell me.”

She scrunches her nose, narrows her eyes, rattles her head a bit—one of those expressions (in this case, meaning fuck off) that somehow people recognize, even though its individual components seem absurd. Flipping through the book again, she notes underlined passages, at first just a couple, then more and more:

…a loft on Congress Street…

We got takeout from Tandoor, right across from where Darren was living at the time.

…in Tommy’s Park, where a group of our friends gathered to watch.

Everything underlined has to do with some geographical location where they did something or other with the filming; the kind of notes a fan would make, wanting to visit Portland to find all the behind-the-scenes locations related to his favorite obscure movie. “I really don’t get you sometimes,” she says, closing the book and putting it back on the table.

Without hesitation, Max reaches forward and snatches the book, stowing it on the chair next to him, away from Kelly’s grasp. “I’m looking for Evelyn, and I’ll do whatever I can to find her.”

Often it’s best to ignore her brother’s edges, like a mess of broken glass you try to clean up without hurting yourself—but this remark breaks the skin of their conversation, draws a dab of blood. “Evelyn?” Kelly says, drawing her voice out a bit, perhaps to prolong saying the rest of what she needs to say. “I don’t understand. She was in your movie, not Land Without Water…”

Max shakes his head, mouths, No, no, but makes no sound, like a TV on mute.

“Are you okay? You seem a little confused, or something—”

Max cuts her off with a wave of his hand. Eyes still slits, he glances around the bar. “Nobody knows what I’m about to tell you, and I don’t want anybody to know, okay?”

“Okay,” Kelly says, the word drained of energy by the time it leaves her mouth. “You can tell me. I won’t blab.”

Max’s eyes settle on a man in bright red overalls sitting at the bar, alone, sipping a beer.

“It’s probably safe to talk,” Kelly says. “That guy has his overalls turned up too loud to hear you.”

Max turns back to his sister, his face a mask of seriousness, and he leans across the table. “Okay,” he says, practically at a whisper, leaving Kelly no choice but to lean forward too, her exposed elbows sticking to the patches of dried beer on the table. “The other day, I went to see Land Without Water. They’re playing it at the Movies on Exchange again. They always play it the week before Day Without Water. Anyway, I stayed afterward and watched the credits roll. I watched them closely as they went through all the acknowledgments, thanking the locals here in Portland. It was mostly the director’s family, businesses, things like that. But then, near the very end, I saw it: Evelyn Anderson.” He widens his eyes and jabs his head toward her a bit, as though ready to respond to her shock by saying, I know! Crazy, right?

But no shock comes; Kelly feels decidedly unshocked. “How does that—did I miss something?”

“That’s her,” Max says, “thanked at the end of the film.”

“But her last name was Romanoff, right?”

Max nods. “Yes, but Anderson was her stage name. Her artistic name. She always went by Anderson. Evelyn Anderson. And her name was there. She was there. Thanked.”

Kelly notices that Max is still clenching that fork, though it seems suddenly less likely that he means to jab out his sister’s eye with it and more likely that he plans to jab out his own. “Anderson isn’t exactly the world’s least common name,” Kelly says. “Isn’t it possible there’s another Evelyn in Portland—or, hell, anywhere—that had something to do with the movie?”

“No.” Max shakes his head like a boss shooting down a poor suggestion. “It’s her.”

“Is she mentioned in that book you’re reading?”

“No,” Max says. “I’ve read it three and a half times now, trying to find some mention—even something oblique—but I can’t find anything.”

“So then?”

“So nothing. That doesn’t mean anything. Just because she isn’t mentioned in the book doesn’t mean I’m wrong about her being involved.”

“But if you guys hung out every day and yakked about movies all the time, wouldn’t she have said something?”

Max shrugs. “All I know is, she had something to do with Land Without Water. I don’t know what yet. But this is what the cops aren’t thinking about. They don’t know this yet. And I’m going to figure it out.” Max’s voice accelerates; Kelly hasn’t heard him say so much in one go since she left home. “Because if she was involved in the film, and then she just happens to go missing right before Day Without Water, right when the Movies on Exchange is playing Land Without Water again, right after she goes to see it, right when Penelope Hayward is back in town—that’s just too much. You’re going to tell me it’s a coincidence?”

“Wait.” At the sound of Penelope Hayward’s name, Kelly feels a rush of air against her face, against her exposed wrists lying flat on the table; each hair on her skin rises as though preparing to ask a question. “Penelope’s here?” The physical sensation of this surprises her, makes something flail in her abdomen, makes her sort of want to jump up right here, right now, and go find her. Even the beer-smell in this joint—nauseatingly sweet and hanging like humid air—vanishes, leaving for Kelly only a name: Penelope Hayward.

See, this is the third thing Kelly knows about Land Without Water: that it stars her best friend from high school, who even back then acted the part of prim prima donna so well that Kelly just knew, even though she never would’ve admitted it years ago, that her friend was going to charm her way into some venal industry. Not that their teenage years weren’t fun in many ways, and when Kelly drove into town earlier today, as she saw her ghosts everywhere, she saw as many ghosts of Penelope as she did of her brother or her mother. (Didn’t she even drive by the North Street apartment of Mrs. Hodgkins, the Deering High School English teacher into whose lawn Kelly and Penelope once drove a hundred plastic forks after receiving a paltry C-plus on their White Noise presentation?) But since Penelope got famous—not A-list famous, mind you, because she’s a minor movie star, the colead in half a dozen soul-crushing rom coms but not necessarily bankrolling stuff on her own, not yet at that point of true success, and maybe will never get there if she keeps making the kinds of moronic movies she makes, just fucking batting her fucking eyelashes and pouting for the camera and whatever the hell else—where was Kelly’s mind again? Oh yes, ever since Penelope got famous, Kelly hasn’t mentioned her old friend much—in fact, she never talked about her in Arizona—but back in Portland, their broken friendship feels like an inescapable fact of Kelly’s life, a scar down her face that she hopes nobody asks her about. Yet somehow, the notion that Penelope might be back in town had never occurred to Kelly, not even as a fantasy on her long drive out here; why would it have?

“Penelope,” Kelly says. “Like, she’s here here?”

“She comes every year for Day Without Water,” Max tells her.

“So she’s in town right now?” On the last two words, Kelly pokes her index finger into the tabletop.

“She’s here. And you know what?” Max leans forward. “I would love to talk to her. And you can make it happen.”

“Um. No. I’m not really sure I can make anything happen—”

“No, no, it’s perfect. Tomorrow morning, she’s doing a breakfast thing for charity. You and me, we can show up, we can go, you can talk to her. I only want a couple minutes, okay? I just want to ask her a few questions about Evelyn and Land Without Water.”

Kelly shakes her head. It sounds like a disaster. Kelly and Max just showing up and hoping that somebody in Penelope-the-(minor)-star’s entourage—because God knows she’s going to have one—will grant them access to her? A long shot at best. She opens her mouth and feels the warmth from the bar’s heater on her teeth, smells all the dust burning in the vents—a smell that exists nowhere in Arizona like it exists here.

What an embarrassment that would be, seeing Penelope again, towing along her drooling brother, desperation thick on his skin the way dogs and salesmen can smell. Watching how her brother leans forward, his eyes wide, his cheeks red, the blood in him finally boiling over, she understands that he has hit his final punch line—the reason he wanted to eat with her, the opportunity he began taking advantage of as soon as he saw his sister back in town. Turns out Max wants something from Kelly too.

“Is this why you wanted to have dinner with me?” Kelly folds her arms across her chest. “To ask me about Penelope?”

Max shrugs. “Not the only reason. But we could go tomorrow. Will you go with me tomorrow?”

“Can I stay at the apartment tonight?”

“Tonight?” He grimaces.

“Yes, the apartment I grew up in. That I technically have every right to still be in.” Then, to milk it a bit, she says: “So we can get up early. And see Penelope.”

Max regards her with the unease of a man who has discovered a letter from his wife’s lover, as if one night with his sister will cleave his life into two epochs: before and after.

“I don’t care about—” What ridiculous roommate name did Max give her? Thadeus? Tobias? Whatever the name, Kelly forgets, so instead of asking, she waves her hand in the air. “Whatever, I don’t need my room. Do you have a couch? Something else?”

“Okay, okay,” he says. Sighs. “Yes, you can stay. But we have to go. Penelope’s event starts at eleven. We need to be there early.”

“Fine.”

“Good.” He leans back. “And I’ll get to talk to her. I’ll get to ask her my questions. Because there’s no way this is all a coincidence. No way, no way, no way.”

Kelly looks at him—at his curls matted from sweat, at his pupils wide and fearless, as though staring at something bright, daring himself to keep his eyes open as long as he can. Fuck, he’s gone. Is it possible? Lost his mind?

“It’s fine,” Max says, as if answering the question she didn’t ask. Already, he’s looking away from his sister, snapping his fingers to gain the attention of the nonexistent bartender—unless the bartender is one of the men in lumberjack uniform. He wants the check. Then, with his voice low, almost the sound of a cell phone vibrating in a neighboring diner’s pocket, he says to his sister, “Are you fine with a sleeping bag?”

“That’s a joke, right?”

Max snaps his fingers at his sister now—a fluid movement from the bar to her face. “No, you know what? I’ll put you on the futon. We still have the futon.”