Tiny Little Thing: Secrets, scandal and forbidden love. Beatriz Williams

I return my attention to the photograph in the manila envelope.

      I turn the lock first. When Frank’s away, which is often, his grandmother has an unsavory habit of popping in for chats on her way to bed, sometimes knocking first and sometimes not. My dear, she begins, in her wavering voice, each r lovingly rendered as an h, and then comes the lecture, delivered with elliptical skill, in leading Socratic questions of which a trial lawyer might be proud, designed to carve me into an even more perfect rendering, a creature even more suited to stand by Franklin Hardcastle’s side as he announced his candidacy for this office and then that office, higher and higher, until the pinnacle’s reached sometime before menopause robs me of my photogenic appeal and my ability to charm foreign leaders with my expert command of both French and Spanish, my impeccable taste in clothing and manners, my hard-earned physical grace.

      In childhood, I longed for the kind of mother who took an active maternal interest in her children. Who approached parenthood as a kind of master artisan, transforming base clay into porcelain with her own strong hands, instead of delegating such raw daily work to a well-trained and poorly paid payroll of nannies, drivers, and cooks. Who rose early to make breakfast and inspect our dress and homework every morning, instead of requiring me to deliver her a tall glass of her special recipe, a cup of hot black coffee, and a pair of aspirin at eight thirty in order to induce a desultory kiss good-bye.

      Now I know that affluent neglect has its advantages. I’ve learned that striving for the telescopic star of your mother’s attention and approval is a lot easier than wriggling under the microscope of—well, let’s just pick an example, shall we?—Granny Hardcastle.

      But I digress.

      I turn the lock and kick off my slippers—slippers are worn around the house, when the men aren’t around, so as not to damage the rugs and floorboards—and pour myself a drink from Frank’s tray. The envelope now lies in my underwear drawer, buried in silk and cotton, where I tucked it before dinner. I sip my Scotch—you know something, I really hate Scotch—and stare at the knob, until the glass is nearly empty and my tongue is pleasantly numb.

      I set down the glass and retrieve the envelope.

      The note first.

      I don’t recognize the writing, but that’s the point of block capital letters, isn’t it? The ink is dark blue, the letters straight and precise, the paper thin and unlined. Typing paper, the kind used for ordinary business correspondence, still crisp as I finger the edges and hold it to my nose for some sort of telltale scent.

       DOES YOUR HUSBAND KNOW?

       WHAT WOULD THE PAPERS SAY?

       STAY TUNED FOR A MESSAGE FROM YOUR SPONSOR.

       P.S. A CONTRIBUTION OF $1,000 IN UNMARKED BILLS WOULD BE APPRECIATED.

       J. SMITH

       PO BOX 55255

       BOSTON, MA

      Suitably dramatic, isn’t it? I’ve never been blackmailed before, but I imagine this is how the thing is done. Mr. Smith—I feel certain this soi-disant “J” is a man, for some reason; there’s a masculine quality to the whole business, to the sharp angles of the capital letters—has a damning photograph he wants to turn into cash. He might have sent the photograph to Frank, of course, but a woman is always a softer target. More fearful, more willing to pay off the blackmailer, to work out some sort of diplomatic agreement, a compromise, instead of declaring war. Or so a male perpetrator would surmise. A calculated guess, made on the basis of my status, my public persona: the pretty young wife of the candidate for the U.S. House of Representatives from Massachusetts, whose adoring face already gazes up at her husband from a hundred campaign photographs.

      Not the sort of woman who would willingly risk a photograph like this appearing on the front page of the Boston Globe, in the summer before my husband’s all-important first congressional election.

      Is he right?

      The question returns me, irresistibly and unwillingly, to the photograph itself.

      I rise from the bed and pour myself another finger or so of Frank’s Scotch. There’s no vodka on the tray, under the fiction that Frank’s wife never drinks in bed. I roll the liquid about in the glass and sniff. That’s my problem with Scotch, really: it always smells so much better than it tastes. Spicy and mysterious and potent. The same way I regarded coffee, when I was a child, until I grew up and learned to love the taste even more than the scent.

      So maybe, if I drink enough, if I pour myself a glass or two of Frank’s aged single malt every night to wash away the aftertaste of Granny Hardcastle’s lectures, I’ll learn to love the flavor of whiskey, too.

      I set the glass back on the tray, undrunk, and return to the bed, where I stretch myself out crosswise, my stomach cushioned by the lofty down comforter, my bare toes dangling from the edge. I pull the photograph from the envelope, and I see myself.

      Me. The Tiny of two years ago, a Tiny who had existed for the briefest of lifetimes: not quite married, slender and cream-skinned, bird-boned and elastic, silhouetted against a dark sofa of which I can still remember every thread.

      About to make the most disastrous mistake of her life.

       Caspian, 1964

       BOSTON

      Eleven o’clock came and went on the tea-stained clock above the coffee shop door, and still no sign of Jane.

      Not that he was waiting. Not that her name was Jane.

      Or maybe it was. Why the hell not? Jane was a common name, a tidy feminine name; the kind of girl you could take home to your mother, if you had one. Wouldn’t that be a gas, if he sat down at Jane Doe’s booth one day and asked her name, and she looked back at him over the rim of her coffee cup, just gazed at him with those wet chocolate eyes, and said I’m Jane, like that.

      Yeah. Just like that.

      Not that he’d ever sit down at her booth. When, every day at ten o’clock sharp, Jane Doe settled herself in her accustomed place at Boylan’s Coffee Shop and ordered a cup of finest Colombian with cream and sugar and an apricot Danish, she enacted an invisible electric barrier about herself, crossable only by waitresses bearing pots of fresh coffee and old Boylan himself, gray-haired and idolatrous. Look but don’t touch. Admire but don’t flirt. No virile, young red-blooded males need apply, thank you terribly, and would you please keep your dirty, loathsome big hands to yourself.

      “More coffee, Cap?”

      He looked down at the thick white cup in the thick white saucer. His loathsome big hand was clenched around the bowl. The remains of his coffee, fourth refill, lay black and still at the bottom. Out of steam. He released the cup and reached for his back pocket. “No thanks, Em. I’d better be going.”

      “Suit yourself.”

      He dropped a pair of dollar bills on the Formica—a buck fifty for the bacon and eggs, plus fifty cents for Em, who had two kids and a drunk husband she complained about behind the counter to the other girls—and stuffed his paperback in an outside pocket of his camera bag. The place was quiet, hollow, denuded of the last straggling breakfasters, holding its breath for the lunch rush. He levered himself out of the booth and hoisted his camera bag over his shoulder. His shoes echoed on the empty linoleum.

      Em’s voice carried out behind him. “I bet she’s back tomorrow, Cap. She just lives around the corner.”

      “I don’t know what the hell you’re talking about, Em.” He hurled the door open in a jingle-jangle of damned bells that jumped atop his nerves.

      “Wasn’t