“Grady has a wife? I didn't know that. Where is she? I've never met her."
“You don't hang around nursing homes. They were in a car accident the first year they were married. She suffered enormous brain damage. She's been in a coma ever since."
“I had no idea."
“No, and I hope you won't blab it. For all his outgoing personality, Grady's a terribly private person. He can't afford to divorce her. The bulk of her bills are paid by some insurance policy that would be canceled if they weren't married. It would take virtually every penny he makes to care for her. I've told him many times we could live on my money, but he's an old-fashioned frump who won't hear of it. That's part of the reason he's so careful about our relationship. The insurance company would, needless to say, love to unload him. He's afraid if we lived together or even made our arrangement official or public, they'd claim common-law marriage, bigamy, anything to cut off the benefits."
“They couldn't do that, could they?"
“They've already tried a couple of other stunts almost as nasty. He's had to drag them to court twice already. So now you know."
“I'm sorry. I didn't mean to snoop—well, it's exactly what I meant to do, but I was just wondering if he had any connection to Mrs. Pryce.”
Missy sighed. "Actually ...”
She stopped and looked hard at Jane as if making an appraisal, then said, "His wife is her great-niece. Mrs. Pryce never made the connection; Wells is a common name, and none of the family had any more to do with Mrs. Pryce than they had to. And since the community doesn't know about his wife, he didn't bring it to her attention. And before you ask, yes, the police know. Grady told your detective everything. Well, everything except about me, that is.”
Jane sat back for a long moment. "You'll be glad to hear that Mel didn't breathe a hint of this to me. Can I tell Shelley? She won't say anything to anyone else. She's very happy you and Grady have each other, by the way."
“Just so long as she understands not to talk to anyone else.”
They were quiet for a long moment, then Jane said, "It isn't an important connection, is it? Mel told me the money all goes to the grandchildren. Grady wouldn't benefit."
“Not a red cent. Jane, Grady had nothing to do with this murder."
“I believe you." And it was true. At least, she believed that Missy believed in his innocence. Jane herself wanted to think about it a little more before she checked Grady off her private list of suspects. She'd already drawn a light mental pencil line through his name, and nothing would make her happier than to dismiss him entirely. Unfortunately, she'd already penciled off everybody but Bob Neufield, and she had the strong feeling that, much as she'd like to cast him as a villain, he wasn't one.
“Jane, if we've hashed this over enough, I'd like to know if you've been working more on Priscilla's story. That's what I really came over about.”
Jane started to tell Missy about the wolf idea, but Missy stopped her. "Bit of advice, Jane: Don't talk about an idea until it's already written. You'll use up all your fire on the telling, and the writing will be boring when you get to it."
“Oh—yes, I see. You're probably right. Well, yes, as you can see, I'm still working on it. Missy, do you really think I might end up with a published book? It seems impossible.”
Missy chose her words with care. "I think you might end up with a publishable book. Whether it will get published is another thing. See, Jane, successful writing is made up of forty-nine percent discipline, and forty-nine percent talent, and two percent dumb luck."
“I don't even think I've got the discipline or the talent I need, let alone the luck."
“But those can both be nurtured and practiced and developed. The luck can't be."
“Don't you think I might do better to write a romance?"
“Good heaven's, no! Everybody thinks a romance is the easiest thing in the world to do, and it's one of the hardest to do well. Besides—the romance business is difficult."
“Why?"
“Because most of the romance editors are very young, very New Yorky. They think that anything west of the Hudson River is wilderness and that the typical reader is some hillbilly congenital idiot whohas to move her lips to read. Consequently they tend to hold the writer down to Dick-and-Jane level. I once had an editor insist I remove a reference to Charles Dickens. She said the readers wouldn't have heard of him and they'd think he was a character in the book they'd missed. I'm not sure she knew who he was.”
Jane laughed. "It can't all be that bad."
“No, some of the editors are very good, but you don't always get lucky enough to work with them." Missy had cheered up considerably. "There are a few other things you should know, if you're thinking of getting into this business. There are things that people will say to you that crush you the first six times or so, until you realize they're standard."
“Like what?"
“Like people who say, 'What name do you write under?' the implication being that they've never heard of you. I always tell them I write as Stephen King. Some of them get the joke. Some are more direct. 'Oh, you're a writer? I've never heard of you.' Or friends who will come up out of the blue and say to you, very pleasantly, 'I've never read one of your books.' I can't imagine what they expect you to say to that. And these aren't even the ghouls, Jane. These are people trying to be nice and just not realizing how insulting and nasty they're being. But the worst, and most common, is this one: 'You're a writer? I always meant to write a book—if I just had the time.' I'm always tempted to say, 'Yes, and I've always meant to be a brain surgeon if I could just find time to try the surgery.' "
“Missy—I don't mean to pry into your business, but can you make money writing?"
“Yes, but you can't count on it. It's feast or fam‑ ine. The nice thing is, there's not much cost. It's not like opening a shop where you have to pay rent and purchase a huge amount of stock and pay employees and buy a delivery truck. All you really need is a typewriter and paper and your imagination, although I'd strongly recommend a word processor. You're thinking about this seriously, aren't you?"
“Semiseriously," Jane admitted.
She got up, gave Jane a hug, and said, "Most of the time I think writing is the best job in the world. You get to stay home, wear whatever you want, and smoke without anybody complaining. And I better get back to work.”
Jane walked to the car with her. As Missy got in, she said, "Look at your front porch. Flowers, I bet.”
Sure enough, there was a large cone of white paper sitting on the porch.
Jane bid Missy good-bye and walked back to the house. She took the flowers in and tore off the paper. It was a lovely fresh arrangement, all in blues and whites in a glazed white bowl. Jane searched among the blooms for a card, but there was none. She noticed the name of the florist on the wrapping paper, but decided not to call and ask.
It must have come from Mel, she thought. What a nice, romantic gesture.
17
“What a beautiful arrangement!" Cecily said, looking at the flowers that were still sitting on the kitchen counter. "Who are they from?"
“I presume they're from Mel, but there's no card. What are all these things, anyway? I think this is a Shasta daisy, but I don't recognize any of the blue ones."
“I don't either. Jane, is this serious? With Mel?" "Oh, Mom, I don't know. I don't think so. We don't have anything in common."
“Sometimes that doesn't matter," Cecily said. "In fact, that very thing can be a good basis for a relationship. It means constant discovery."
“Except Mel isn't interested in discovering my world—housework, kids, homework, school carnivals. And I can't say that I blame him. It's all necessary, but it's not fascinating. And frankly, I feel the same about his job. Necessary, but pretty boring except times like this when it has a connection with me. I can't see us ever having scintillating conversations about what kind of powder they use to pick up fingerprints."