To Babette, I nod my head enthusiastically. Into the phone, I say, "We're conducting a consumer survey to track purchase patterns for common household items... ."

Babette lifts her hand, taps the wrist with the index finger of her opposite hand, and mouths, What's the time?

In response, I mouth, August.

And Babette shrugs and walks away.

Over the next few hours, I run across an elderly man dying of kidney failure. A middle-aged woman apparently losing her battle against lupus. We talk for an hour, easy. I meet another man who's alone, trapped in a cheap apartment, dying of congestive heart failure. I meet a girl about my same age, thirteen, who's dying from AIDS. This last one, her name is Emily. She lives in Victoria, British Columbia, Canada.

All of these dying folks, I pitch them on relaxing, not being too attached to their lives, and not ruling out the possibility of relocating to Hell. No, it's not fair, but only the late-stage folks will allow me to harass them with thirty or forty questions, they're so strung-out from their treatments or they're so alone and frightened.

The AIDS girl, Emily, won't believe me at first. Either about being her same age or about being dead. Emily's been kept out of school since her immune system crashed, and she's so far gone that she's no longer even worried about flunking seventh grade. In response, I tell her that I'm dating River Phoenix. And, if she can hurry up, quick, and die, word is that Heath Ledger isn't dating anybody at the moment.

Of course, I'm not dating anybody, but what's my punishment for telling a little fib? Am I going to Hell? Ha! It's stunning how having nothing to lose will build your self-confidence.

And, yes, it ought to break my heart, talking to a girl my same age who's stuck alone, dying of AIDS in Canada with both her parents at work, while she watches television and feels weaker every day, but at least Emily's still alive. That alone puts her head and shoulders above me in the pecking order. If anything, it seems to brighten her spirits, meeting someone already dead.

Over the phone, all self-righteous, Emily announces that not only is she still alive, but she has no intention of ending up in Hell.

I ask if she's ever buttered her bread before breaking it? Has she ever used the word ain't? Has she ever fixed a fallen-down hem with either a safety pin or adhesive tape? Well, I've met mobs of people condemned to eternal hellfire for just those very slipups, so Emily had best not count her chickens before they're hatched. According to Babette's statistics, 100 percent of people who die of AIDS are consigned to Hell. As are all aborted babies. And all people killed by drunk drivers.

And all the people who drowned on the Titanic, rich and poor, they're here roasting away also. Every single soul. To repeat: This is Hell—don't ask for too much logic.

On the phone, Emily coughs. She coughs and coughs. At last, she catches enough breath to say the AIDS isn't her fault. Besides that, she's not going to die, not for a long, long time. She coughs once more, and her coughing ends in sobs, sniffing, and weeping, real way-genuine little-girl boo-hooing.

No, it's not fair, I reply. In reality, within my head, I'm still so excited. Oh, Satan, just imagine it: Me with Bangs!

On the phone it's silent except for the sound of crying. Then, Emily shrieks, "You're lying!"

Into my headset, I say, "You'll see." I tell her to look me up once she arrives. By then I'll probably be Mrs. River Phoenix, but we'll make a bet. Ten Milky Way bars says she's down here with me faster than she can imagine. "Ask anybody for directions," I tell her. "The name's Maddy Spencer," I say, and she needs to make sure and die with ten candy bars in her pocket so we can settle our bet. Ten! Not snack-size!

And, yes, I know the word masticated. It's not as dirty a word as it sounds. But no, I'm not way-totally surprised when this Canadian Emily girl hangs up.

XVII.

Are you there, Satan? It's me, Madison. I suspect that my parents had an inkling about my covert plan to seduce Goran. This night, while they're both out, I'll profess my love as vehemently as Scarlett O'Hara throwing herself at Ashley Wilkes in the library of his Twelve Oaks plantation house.

 

Mere hours prior to the Academy Awards, my parents are fussing over which color of political action ribbon to pin on themselves. Pink, for breast cancer. Yellow, for Bring the Soldiers Home. Green, for climate change— except for my mom's gown arrived looking more orange than crimson, so any symbolic protest against climate change would clash. My mom folds a scrap of red ribbon, holding it against the bodice of her gown. Studying the effect in a mirror, she says, "Do people still get AIDS?" She says, "Don't laugh, but it just seems so... 1989."

The three of us, her, me, and my dad, are in the hotel suite, waiting in the lull between the siege of the stylist army and the launch of the Prius. My dad says, "Maddy?" In one hand, he holds out a pair of gold cuff links.

I step closer to him, my own hand extended, palm up.

My father drops his cuff links into my cupped palm. Then he shoots his shirt cuffs, French cuffs, extending both hands, turned wrist-up, for me to insert and fasten the cuff links. These are the teeny-tiny malachite cuff links some producer gave everyone as a wrap gift after shooting ended on my mom's last film.

My dad asks, "Maddy, do you know where babies come from?"

Theoretically, yes. I understand the messy ordeal of the egg and the sperm, plus all the ancient tropes about finding infants beneath cabbage leaves or storks bringing them, but just to force what's obviously an uncomfortable situation, I say, "Babies?" I say, "Mommy, Daddy..." Canting my head in a not-unappealing manner, I widen my eyes and say, "Doesn't the casting director bring them?"

My father bends one elbow, pulls back the shirt cuff on that hand, and looks at his wristwatch. He looks at my mother. He smiles wanly.

My mom drops her evening bag into a hotel chair and heaves a deep, heavy sigh. She settles herself into the chair and pats her knees in a gesture for me to move closer.

My father steps to stand immediately beside her chair, then bends his knees to sit on the chair's arm. The two of them create a tableau of elegant good looks. So meticulously outfitted in their tuxedo and gown. Every hair assigned its perfect place. The pair of them, so beautifully blocked for a two-shot, I can't resist messing with their Zen.

Dutifully, I cross the hotel room and sit on the Oriental carpet at my mother's feet. Already, I'm wearing the tweedy skort, the pink blouse and cardigan sweater for my long-planned rendezvous with Goran. I gaze up at my parents with guileless terrier eyes. Wide-open Japanese-animation eyes.

"Now, when a man loves a woman very, very much..." my dad says.

My mother retrieves the evening purse from the seat beside her. Snapping open the clasp, she reaches out a pill bottle, saying, "Would you like a Xanax, Maddy?"

I shake my head, No.

With her perfectly manicured hands, my mom executes the stage business of twisting open the pill bottle, then shaking two of the pills into her own hand. My father reaches down from his perch on the arm of her chair. Instead of giving him one of the two pills she holds, she shakes two more pills out of the bottle into his hand. Both my parents toss back the pills they hold and swallow them dry.

"Now," my dad says, "when a man loves a woman very, very much..."