"Oh," I said. "My song." I rose, and went to the old record player. I pulled the vinyl LP from its sleeve and loaded it onto the turntable.

"You're well made," he said, watching me from the sofa.

The first fluttery notes of a harpsichord played. "I think of you when I hear this song," I said. I lay back down and Willis covered me with his shirt.

"Bach," he said.

I closed my eyes to listen but opened them again, needing to see Willis, the damp hair on his brow, the clothes on the floor, curling shreds of wallpaper in the upper reaches. Willis held me while the music played and I memorized all the details, although it was hard to concentrate, worried that anything that made me feel this good would surely not happen again.

"I can't resist you, Lily," he said.

"Thank God for that." I kissed him as if he were mine.

Thirteen

Willis was gone. When I climbed the attic stairs the next day, excited to resume our relationship under its new M.O., hoping to discuss the lease problem like a couple, he wasn't there. He should have told me he was leaving. Why would Willis disappear without an explanation after what had happened between us? Where was he? I'd never experienced such excruciating loneliness. In my head, Miss Clavel said, Something is not right, but in my heart, I cherished the hope that he'd gone to London to break up with the Someone Else.

I sat at my desk, staring at the pad on which I'd written the heading, "Business Plan for Dummies." Vera said we needed to accelerate our strategy since Magda had supposedly received a letter of interest from her funding source at Michigan. Vera proposed visiting Lady Weston in the hospital on Friday. But the Consummation in the Music Room had transformed me into a total blissful wreck, taking my daydreams to a new level. So far, I could generate only the words "Mrs. Willis Somerford" in lovely copperplate, especially swirling the W and scrolling the S. My Jane Austen doodled on her list of heroes as if she didn't know what to do with herself.

I couldn't bear my loneliness. I put my pen down in preparation for another run to the attic when a plump mother and three toddlers with runny noses toddled into my office, followed by Omar.

"Here we go," a ghastly, frightened Omar pushed the last baby body through my door and closed it behind them. The six of us looked at each other. "Where's Vera?" Omar asked as if a gun were pointed at his temple.

"In the ballroom," I said, "policing the script. Did you take the slavery lines out like Nigel told you?" I asked, hiding my "Business Plan for Dummies" beneath my other list: ideas for new tea-theatre entertainment—a one-woman show, The Lost Letters of Jane Austen.

"No," he said.

"Why not?" I asked. The woman snagged the arm of a child headed for the door.

"I'm scared of Magda," Omar said. "She has the original script; she refuses to use it." Omar pulled a chair up for the woman to sit. "Let's make this our base for now," Omar said, but she remained standing. "Do you have any, um, crayons?" Omar asked me, clearly resorting to his last idea, staring as if I should know what was killing him. The mother smiled, oblivious.

"Crayons?" I had colored markers but they were the permanent kind. Instead, I extended my hand to the plump woman. "Hello," I said. "I'm Lily Berry."

She returned the smile and gave me her hand. "I'm Sheila Porter," she said. "Archie's wife."

The situation focused. This would delay my next trip to the attic.

"Triplets?" I asked her, smiling at the three busy babes tangled in her legs.

Sheila's eyes sparkled as she shifted the very large diaper bag on her shoulder. "No," she answered, touching the shoulder of the tallest boy, "twins and a big brother."

Upon closer inspection, the age difference was obvious. "How can you tell them apart?" I asked, stalling for time, weighing the ins and outs of Archie's wife attending the same lit fest as Archie's mistress.

"A mother knows." Sheila touched one of the small ones. "Teddy had a pointy head at birth and Roger's was much rounder," she said.

Teddy was moving about but I thought I could see a little point on him. And it occurred to me that the wife's presence might be the train wreck needed to end Magda's takeover.

Sheila continued, "And Roger has a birthmark above his right bum." Sheila touched the place on her own body but thought better of showing her flesh. The extra pounds she carried and the hairstyle dating from the year of her marriage both added years to her appearance.

Omar crossed his arms, blinking rapidly.

"How can I help you?" I asked Sheila.

"I'm here to see Archie, of course," Sheila said. "I know my way to the ballroom." She moved toward the door but Omar blocked it with his body.

"I'll get Archie and bring him here," Omar said. "He's watching the scene." Omar stared at me again. "Don't go anywhere," he said.

"Oh no, I want to surprise him," Sheila said, unusually calm for someone about to confront her husband's mistress, a look I'd seen before. Perhaps my mother had confronted Sue and I'd lived through it, oblivious.

"I don't think that's a good idea." Omar shook his head, beseeching me to back him up.

At that moment, Archie would be in his usual position in the back of the ballroom, heads together with Magda's scarf, defending Magda's adaptation of the text. The last thing he expected to see was his wife.

Sheila lifted a fussy twin, while the other put fuzz from the floor into his mouth. She lowered her eyes as she spoke. "The same individual who invited me here today made certain I understood the lay of the land."

"Vera invited you?" I asked.

Omar closed his eyes.

The oldest boy tugged on her arm and Sheila pulled a tiny board book from her diaper bag. I would have backed off at that moment like a sensible person, but something about the mother sharing the little book with the baby made me want to act on her behalf. As if doing something for Sheila would help my mother.

"Let's go," I said. "Archie's in the ballroom, I'll take you."

Omar slumped into the chair he'd pulled out for Sheila. "I'll wait here," he said.

*   *   *

Sheila stood just outside the ballroom door, her face flushed; perhaps finally understanding the risk of confronting her husband and his mistress. Up to this moment, the affair was in the abstract, she could deny it. Now the horror she'd imagined would reveal itself in the flesh. Her eyes darted from her children to the threshold while inside a chorus of actors pressed Fanny to cooperate with the theatricals. I peeked around the door to see Archie and Magda against the back wall, arms touching, oblivious, right where I wanted them.

Suddenly Nikki, playing Julia Bertram, flashed through the hall, rushing past me, the force of her stage presence displacing the mother and children to the side where all five shared the threshold. Nikki called out in her professionally trained voice, turning every head in the room—actors, directors, and patrons alike, to see who spoke so urgently:

*   *   *

Julia: My father is come! He is in the hall at this moment!

*   *   *

That should have been the end of the scene, where patrons give the actors a round of applause, but it didn't happen that way. The boy in the doorway distracted the patrons from their obligation to applaud; speaking as though he were part of the cast, his line confusingly fit the action as he said, "Father!"

But the boy wasn't speaking to the actors. He and his mother were looking at the back wall where the entire audience turned their curious gaze—where Archie Porter stood blushing furiously. After hesitating, as if to consider his options, Archie walked away from Magda to kiss his wife on the mouth and lift one of the babies. Patrons responded with warm applause and murmurs as the upstaged actors retreated to the Freezer. When Archie put one baby down and picked up another, Sheila beamed. Archie's ponytail didn't look nearly so hip next to Sheila. It looked gray. In the context of his three kids, it looked silly.

I stood on tiptoe and craned my neck to see Magda's reaction. She turned on her heel and retreated out the back door, her scarf billowing in her wake like a flag on an enemy ship.

Fourteen

Sixby complained I was preoccupied when he arrived to brainstorm our follies act. "You need to snap out of it," he said when I failed to respond. "We need a clever act."

I didn't want to snap out of it. I wanted to be alone with Willis in my recent memories. "How about a one-woman show: The Lost Letters of Jane Austen?" I said absently, as I added numbers on my pad.

"Ooh, I've never done a one-woman show," he said, leaning back in Claire's chair, flipping through his book. He'd dressed in Regency breeches and white cotton shirt—on his day off, his jacket flung on the chair. "What would Magda say?"

Magda was busy at the moment, putting up a fight. Hard to believe she would fight for scruffy old Archie. But sometimes it seemed Magda was winning, displaying her exotic charms, exposing an inch of firm brown flesh as she abandoned her modest garb in favor of tight jeans and cropped tops. Omar's comment: "Forget scarves and veils. The attire-oppressed women of the world are on hold while the future of Archie Porter is decided." And Vera worried that since Archie had moved back into his own rooms with his wife and children, Magda clearly had more time on her hands to pursue her funding goals.