Chapter 1

New York, New York. A blissful spring morning beckoned, cloudless and
blue and pure. I was driving my high-mileage Toyota down Seventh
Avenue, headed for the location shoot that was supposed to wind up
principal photography for my first feature film, _Baby Love_. It was
about the pain and joy of adoption. I guess directing your first
feature is something like giving birth to your first child, but that
gets us way, way ahead of the story.

My name, by the way, is Morgan Smyth James, after two grandmothers, and
I'm thirty-eight and single and strive to be eternally optimistic. That
morning, however, in spite of everything else, I was missing Steve
terribly and feeling like I'd screwed up essential components of my
life.

To try for some perspective, let me say I'd always planned to have a
normal, loving family. Really. Find an emotionally present soul mate
who cared about things I care about--okay, slim and smart and
spectacular in bed wouldn't be a minus--get married on a lawn with lots
of white roses some sunny June afternoon, work one or even two perfect
kids into our fulfilling, giving lives. But somehow I'd managed to have
none of that. I'd messed up at every turn.

In reality I had nobody to blame but myself. Eighteen years ago, just
out of college, I turned down two really nice guys. My body was fertile
and hormone-driven--was it ever!--but grad school loomed and my
greatest fear (instead of, as now, my fondest hope) was getting
"trapped" into motherhood. Also, I had the youthful delusion that life
was forever.

There was, in truth, one simpatico young director I met at NYU film
school whom I would have married in a minute, but after Jason won my
heart he dumped me for his undergraduate sweetheart who had skillfully
gotten herself knocked up during his Christmas break.

Which was when I first developed my fallback strategy for coping with
bad news. After moping around in sweats for two days, cutting class and
hiding in a revival house showing a Goddard retrospective, not
understanding half the French and too bleary-eyed to read the
subtitles, I decided to build a defense system. From that day on, I'd
put all heartbreak in a special box, nail down the lid, and act as
though it wasn't there. It worked then and it still works, more or
less, now. People sometimes accuse me of living in selective denial
(they're right), but it makes me one heck of a survivor.

And something else. I decided then and there to focus my life: I'd
concentrate on learning to make movies and let the family part just
play out naturally. I had the idea that whereas men's affections
couldn't be controlled, a career could. Even then I realized it was
only a partial truth, but I decided to go with it anyway.

Which brings us down to three years back. And a funny thing was
happening. Almost without realizing it, I'd started lingering in stores
to look at little pink jumpers, begun gazing into the baby carriages
that suddenly seemed to be sprouting everywhere. The phrase "my baby"
became the most powerful one I could imagine, made my throat swell till
I'd half choke.

At which precise time, like a _deus ex machina_, enter Steve Abrams,
the man who gave me hope. He came along just as I was noticing that
infinite stream of wonderful guys had dwindled down to relationship
dropouts, men with distant eyes and former wives in other states. We
discovered each other at the reopened Oloffson Hotel in Haiti, where I
was shooting a documentary about voodoo and he was photographing that
country's ragged, plucky children for National Geographic. No
ex-spouses, no need for psychic pampering. Okay, he wasn't going to win
a Mr. Universe contest any time soon; he had a couple of extra pounds
that, actually, I kind of liked. But he was my age, had great brown
eyes, sandy hair thinning only just a bit. No Greek god but definitely
a man. He could tune a Jeep carburetor with his eyes closed or fix a
cranky hotel lock, then recite Byron (sort of) and proceed to snare the
perfect Chilean red for crawfish _etouffee_ (yes!). But I knew I loved
him when I realized it was more than any of that. I felt as if I'd
found the other half of myself. Just one glance across the table and we
each knew what the other was thinking, feeling. We'd laugh at the same
instant, then as though on cue, half cry together over the miseries of
that wretched island. Sometimes it was almost eerie. And as for
lovemaking, let me just say Steve didn't need a how-to manual. We were
made for each other.

Maybe it's un-PC to mention it, but I also felt safe around him. And I
think he felt the same. We liked that feeling. Us fending off the world.

When we got back to New York, we had to see each other every day. We
still had separate apartments--thanks to the New York real-estate
squeeze--but we were scouting in our spare time for an affordable loft
in lower Manhattan that could accommodate Steve's darkroom, my office,
and--yes--a baby. We evolved into parents-to-be, pricing baby
carriages. Who could have predicted it? The joy of sharing a need. It
was a total high.

Before long we decided to stop waiting for the perfect

space. We'd start on the baby anyway, our first joint project--which,
we believed, would only be the first of many.

But nothing happened. Over a year and still nothing.

That was when life began to feel like a cruel bait-and-switch. When you
aren't ready, you can produce a baby in a momentary absence-of-mind,
whereas once you're finally an adult, accomplished, lots-to-offer
woman, ready to be the mother you wish you'd had, your body has closed
down your baby-making equipment like an unused Rust Belt factory.
Fertility has calculatingly abandoned you for the Sun Belt of youth.

"Well," Dr. Hannah Klein, my long-time ob/gyn, declared, "our tests all
indicate you're both fertile, so just keep trying, under optimum
conditions."

Optimum conditions. There followed almost a year of "optimum
conditions." Do it upside down; wait and have a cold shower while I
take my temperature; no, not that way, not tonight. My mucus is
thicker: Quick! Eventually we both began feeling like laboratory rats.
Our once-incredible love life drifted into something only a boot-camp
sergeant with Nazi leanings could be turned on by.

I think that's what finally caused Steve to go over the edge. Three
months ago--a Friday morning I shall never forget--he stepped out of my
shower, swathed himself in a white towel, and announced he was going to
Central America to do a book. He needed time to think. The move, he
explained, wasn't about us. He really wanted to spend a year down there
with his Nikon, capturing the region's tentative processes of
democratic transition. Besides, he was beginning to think we'd both
gone a little mental about the baby.

Out came that special box of heartbreak again. I consoled myself we
were just having a seventh-inning stretch, but the wisdom in that box
told me I'd somehow blown it. The baby we hadn't created had become a
specter hovering in the ether between us, ever a reminder of failure.

As a parting gesture, the never-say-die long shot, he left a "deposit"
with Dr. Klein--for her liquid-nitrogen womb-in-waiting--enough for two
final intrauterine inseminations. Later on today I was going to see her
and find out if our last and final attempt had stuck. But nothing about
my cycle was giving me any hope.

In the meantime, though, I had a movie to finish. We were shooting an
interview at a five-story condominium building in Greenwich Village
belonging to a woman named Carly Grove, who'd recently adopted. Her
story was intriguing, but now--with my own hopes of ever having a baby
down to two outs in the bottom of the ninth--well, now I had more than
one reason for wanting to meet her. . . .

When I arrived, I lucked into a parking space right in front. Our
security guy, Lou Crenshaw, was off today getting some city paperwork
sorted out, but my crew was already upstairs--as director I get to
arrive at a decent hour, though later on I also get to do lonely
postproduction work till midnight--leaving our three vans
double-parked, with a New York City Film Board permit prominently
displayed inside each windshield. The building, formerly a Hertz
parking garage, was near the end of Barrow Street, facing the Hudson
River, and was filled with artists and entrepreneurs.

The truth was, I wanted to get the interview on film as soon as
possible. I was more than a little worried Carly might decide to get
cold feet and back out. She'd started to hedge when I had one last
confirming chat with her last night, something about a "no-disclosure"
agreement she now remembered signing. This had to be a one-take,
all-or-nothing shoot.

Which was why I'd sent down the full gang this morning, not just the
"key" personnel as I'd initially planned. Leading my (motley) crew was
the director of photography, first cameraman Roger Drexel, a grizzled
veteran with a ponytail who'd been with my producer, David Roth and his
Applecore Productions, from back when he did beach movies and splatter
films. He worked with the production manager, Erica Cole, our lipstick
lesbian, who coordinated crew schedules. The second camera was handled
by Greer Seiber, recently of NYU film school, who was so happy to have
a job, any job, she acted as though David's previous string of
low-budget, B-flick epics were remakes of _Gone With the Wind_.

Scott Ventri, another Applecore old-timer, was key grip, the guy who
got the gear on and off the vans, set it up, and signed off on safety
regs. Today he also was responsible for blacking out windows and
setting up lights. The chief electrician, gaffer, was Ralph Cafiero,
who'd come down the previous day and temporarily hot-wired the circuit
breaker in the apartment to make sure there was enough amperage. He and
his lighting "crew," another bright-eyed (and cheap) NYU grad named
Paul Nulty, had arrived this morning ahead of everybody else to
pre-light the "set," a northeast corner of the apartment.

I'm always a little hyper about sound, so I'd asked Tony Wills, who
handled recording, to also come down the previous day and record the
"tone" of the living room, the sound when there is no sound, in order
to have it available for editing. Today he'd run the boom mike and be
assisted by Sherry Moran, his latest girlfriend, who was
mixer/recordist. For Carly's makeup and hair, I had Arlene Morris, an
old friend from all the way back to my early days as an AD on the
soaps. . . .

I rang Carly's bell and she buzzed me right up.

She doubtless had a closet full of Donna Karan suits, but she came to
the door in pre-faded jeans and a striped sweater.

A successful publicity agent, she was petite, with dark hair and eyes
and an obvious don't-bug-me take on life.

"Come on in. My nanny's here to help keep Kevin out of the way." She
was sounding like she'd gotten her old spunk back, or so it seemed at
first. "I've completely cleared the living room."

I looked around the place, now a vision of setup pandemonium. "You're
sure this is all right?"

"Well . . ." She was biting at her lip. "Maybe we ought to talk first,
okay? But come on in. I'll probably do it. Maybe I just need a good
reason to. . . ."

As her voice trailed off, I found myself mining my brain for a sales
point. Finally, out of the blue, I settled on one. "Because you're
totally crazy?"

She laughed out loud. "Not a bad start. I live in total madness. It's
the definition of my life."

I laughed too and looked around. No kidding. Her loft apartment was a
wild mixture of stairs and galleries and levels--unconventional in
every way. Also, it had a lot of in-your-face decor, outrageous
posters, and African fertility masks, signs of a wonderful, irreverent
personality. Then too, stuffed animals and toys were strewn all over.

"I can't really afford the rent," she declared, seeing me survey the
place, "but I need the space for Kevin. I've just joined Bloomingdale's
Anonymous. Twelve steps to shredding your charge plates."

Her nanny, a Jehovah's Witness from Jamaica named Marcy (who reminded
me of a cuddly voodoo doll, complete with cornrows), was bringing
Carly's little boy Kevin down from his bath in the upstairs bathroom.

He was definitely adopted, sandy-haired and peachy, nothing like
Carly's dark, severe strands and Mediterranean skin. When Marcy put him
down, he tried to walk, and I felt my envy ratchet upward a notch. He'd
just started taking tentative steps, at eleven months old, and there
was still a Frankenstein quality as he strode stiff-legged, arms out
for balance.

I walked over, picked him up, and gave him a kiss. He looked like a
Scandinavian travel poster, a cherubic vision, and I felt a great void
growing where my heart had been. Then Marcy reached out and pried him
from me. I hated to let him go so much I almost pulled him back.

"You're so lucky," I said to Carly, feeling a surge of yearning. "He's
great."

"You know," she said, "I've been thinking about that 'no disclosure'
thing Children of Light made me sign. That's their name, by the way.
Like a vow of silence about them. They seemed pretty serious about it."

Dear God, I thought, don't let her chicken out. Don't, don't.

"So, we won't mention them. Just never use their name."

She stood a minute, mute, and then her eyes grew determined. "No, I've
got a better idea. I like you. And I think more single women ought to
know about adoption. So you know what? I think I'll use their name all
over the damned place. I paid what they asked, and for that I ought to
be able to do what I want. What are they going to do? Come and steal
Kevin back?"

Then she sighed and stared at me. "Maybe, though, you could run through
again how exactly we fit into this movie."

I liked to tell the story to people, just to get their reaction. There
are always moments of doubt in the film-making process when you wonder
if the audience for your picture is going to consist entirely of your
immediate family, your backers, and your creditors.

"Well, as I tried to explain before, it's a fictional construct
intended to feel like a documentary, about a career slave named Gail
Crea who's based on a hundred women I know. She's got a great career,
manages fund-raising for a major museum, and work is going great. But
then one day she finds herself suddenly daydreaming about babies,
envying mothers. She yearns for someone to take care of, has a
recurrent dream she's stealing a baby out of a carriage on the street.
It's demeaning."

"God," Carly said, "I know exactly what you're talking about. I've been
there. Have I ever."

The truth was, I also knew it all too well. It was poignant and
demeaning at the same time.

"Anyway, Gail's focused on career all through her twenties, and by her
late thirties she's become a serious professional. But her personal
life is still on hold. She 'meets people' at work, or some other way,
and she has a couple of long-standing relationships that finally crater
because the guys, make that commit-ophobes, 'need space.' Along the
way, there're ghastly fix-ups and dismal dinners with what seem like a
hundred thousand misfits. She becomes the Dating Queen of New York, but
eventually she realizes all the men she's meeting are either assuaging
their midlife crises with some pneumatic bombshell named Bambi, or
they're divorced and whining and carrying a ton of emotional baggage.
The fact is, she's become the sensible, successful professional she's
been looking for all this time. This all sort of seeps in as back
story."

I perched on a stool at the breakfast bar and looked down at my jeans,
and noticed that a rip was starting in the crotch. Shit, back to
cottage cheese. Those horrible eight pounds I could never get rid of.

I crossed my legs. "Finally, after she gets a couple more promotions,
she wakes up one morning and realizes she's never going to have a
family. All the stable, rational men have disappeared. Like there's a
black hole or something. Nothing's left but the walking wounded. She
concludes it's actually easier to get a baby than a decent guy--which
is what she starts trying to do. High concept: This picture is about
how adopting a baby can enrich the life of a childless human being and,
not coincidentally, bring joy to an orphaned infant."

I remembered when I'd first pitched it to David Roth of Applecore. His
response had been; "Definitely art-house. Probably never get past the
Angelika. A wide release is gonna be three screens where they serve
iced cappuccino."

I was dead set to prove him wrong.

"So," I wound up, "I've shot the entire film, but now, thinking it
over, I've decided there's one last thing I need to do. As I go through
the story, at every step of the adoption process I want to cut to an
interview, just talking heads, tight shot, of somebody who actually
went through it. Nonfiction. The real-life happy ending. And that's
where you come in."

What I wasn't telling her was, I was increasingly concerned the picture
might be slightly hollow without this punch of real life.

"Well," Carly declared with a grin, "my ending couldn't be happier."

"Okay, want to get started?" I looked around at Arlene, makeup, who
always seemed to have more on her face than in her bag. I kidded her
about that a lot. But she was actually the one who had found Carly,
bumping into her at a gym in the Village.

"Hey, let's go for it." Arlene grinned.

I turned back to Carly. "So how's about we prep a little while you're
getting the 'natural' look?"

In the back of my mind I knew what I wanted for the interview.
Something like the feeling I remembered from _The Thin Blue Line_,
where people engaged in Hamlet-like monologues that told us more about
them than they themselves knew, that let us really know their secrets
and their fears. The interviewer was never seen or heard.

Arlene ensconced Carly at the dining room table, a weathered country
French, where she'd already unfolded and plugged in a mirror with
lights.

"Having Kevin has been wonderful," Carly began. "He's changed my life.
Sure, being a single 'supermom' makes for a lot of bad-hair days, but
no matter how much I complain, it's worth every burp."

I thought momentarily about having her hold him during the interview,
but instantly decided it would be too distracting. Kevin and his
wonderful eyes would commandeer the camera. A kid this cute in a scene
was nothing less than grand larceny.

He came toddling in now, dragging a stuffed brown bear. Then he banged
its head and tried to say its name. "Benny." His funny, awkward walk
reminded me a little of Lou Crenshaw after a couple of drinks. God, he
was fantastic.

"Come here, sweetie." I picked him up, inhaling his fresh baby scent,
and wanted to hold him forever--while he slammed the bear against my
face. This child, I thought, is too good to be true.

He was wearing a small bracelet around his left ankle, a tiny little
chain, with a small silver medallion attached. It looked like the face
of a cat. Funny. Carly didn't have a cat, wasn't a cat person, so why
the little bracelet? And the back had a bunch of lines and dots, like a
jumbled-up Morse code.

Ask her about that, I thought. But later.

Now Carly was caught up in the sound of her own voice and on a roll.
While Arlene continued with the makeup, moving to her eyes, she bubbled
on.

"Like I told you on the phone, I tried and tried to adopt, through a
whole bunch of lawyers, but it was a nightmare. One guy even helped me
put ads in newspapers all around the country, but nothing worked. I
kept getting scammed by women who wanted thousands of dollars up front,
then backed out at the last minute." She was getting up, looking
intense. "Let me have a minute. I want to make coffee for everybody."

I followed her into the kitchen, which was the "country" type with a
faux granite counter and lots of copper-bottomed pans hanging from the
ceiling.

She was right about the pain of adoption, which was why her story was
such a burst of sunshine. As part of the start-up research for my
picture, I'd actually gone to meet an adoption attorney out in
Brooklyn, a sleazy-looking guy named Frank Brasco. I'd been pretending
to be a client, to find out firsthand how tough it really was. What I
heard was chilling.

"I don't want to get your hopes up," he'd declared for cheery openers.
"Finding a healthy, Caucasian, American baby is virtually out of the
question, so naturally we focus on foreign-borns. All the same, it can
take years, and there's incredible paperwork. Passports for the kid, an
extended visa for you while you go there and then wait around to
process everything in triplicate. Bribes, corruption, you can't
imagine." He sighed and adjusted his toupee, as though the very thought
made him weary. "And that's just the foreign end. Here you have the
INS, the Immigration and Naturalization Service. They give
bean-counting paper-pushers a bad name." He examined me closely. "Not
Jewish, I take it. 'Cause if that's what you're looking for, you may
have to wait for the Messiah."

Now, almost a year and a lot of experience later, I knew full well how
right he was. Which was what made Carly's story so fantastic.

"So how did you manage to get Kevin? You said it only took a few
months?"

"Well, to go back to the beginning, I didn't start out wanting to
adopt. But when the guy I was planning to marry got cold feet--after
four and a half years, the louse--and there was nobody else on the
horizon, I decided to just have a baby on my own. You know, find some
smart, good-looking hunk, seduce him, and get things going the
old-fashioned way, or if that didn't work, then I figured I'd just go
to a sperm bank. Who needs an actual man, right?"

She took out a white and green bag of coffee beans, labeled Balducci's
on the side. I was still holding Kevin, who threw Benny onto the floor,
then began to sniffle and point.

But Carly seemed not to notice as she shook the coffee beans into the
grinder. "Well, getting a baby the fun way turned out to be moot,
because it seems I have some kind of uterine condition--which meant I
couldn't get pregnant, or even do an in vitro. Bottom line, if I wanted
a baby, I had to adopt."

She pressed the button on the coffee grinder, sending a blast of
whirring through the kitchen. In seconds it was over and she was
tapping the batch into her Braun. "So that's when I started on the
attorney thing, got worked over good trying to adopt as a single mom,
and finally heard about Children of Light."

"The adoption organization? What do you know about them?"

"Tell you the main thing," she said, "they're the place that can make
it happen." She reached over and poked Kevin's tummy. "Right, big guy?"

Sure looked that way. What a cutie.

By now the spacious living room had been turned into a mini film set,
with two 35-mm Panaflex cameras set up, windows blanked out, lights and
filters in place, and a video camera and monitor. Having tested the
boom mike and the tape recorder, Tony and Sherry were ready.

Carly announced to everybody that coffee was available, and I handed
Kevin over to Marcy. Then together we marched into the living room.

"Okay," I told her, "we're going to be filming, but ignore that fact.
Just look into the back of the camera and talk to it as though it were
me."

"Hey." She grinned. "You're dealing with a pro. This is my thing."

I looked around at the cameras and the grips. "Okay, guys. Roll sound."
There was a retort as the clap stick used for synching whacked out the
start of the shoot. "Scene one, take one, Carly Grove interview."

She proceeded to hit the ground running, recounting in great detail her
story of many disappointments. She finally got to the point where she
was trying to adopt the baby of a woman in a Memphis jail, and then
even that fell through.

"Which was when my main lawyer, Chuck, just gave up and recommended I
hock the family silver, take a Valium, and try this place called
Children of Light. Where you go when all else fails. So I gave them a
call."

"And what happened?" It sounded too good to be true. "Did they seem . .
. in any way unusual?"

She looked at me, as though puzzled by the question. Then she shrugged
it off. "Well, first they tried to get me to check into their
clinic--it's this place up the Hudson--to let them see if my
'condition' could be cured somehow, using his special techniques."

"His?"

"Goddard. Dr. Alex Goddard. He's a kinda spacey guy, but he's the
big-shot presiding guru there." She remembered the camera and turned
back to it. "I told his staff I didn't have that kind of time, and
anyway nothing could be done. They were pretty insistent, so I
eventually ended up talking to the man himself. He sort of mesmerizes
you, but I finally said, forget it, it's adoption or nothing. So he
just sent me back to the peons. Checkbook time."

I stared at her, hungry for details, but she didn't notice, just
pressed on.

"The money they wanted, I have to tell you, was staggering. Sixty
thousand. And believe me, they don't give revolving credit."

I thought about the figure. It was the highest I'd heard for getting a
baby, but it wasn't totally off-the-wall. Terrific babies don't drop
from trees.

Carly was still going strong. "It took me almost half a year to
scrounge it together. A lot of credit lines got maxed. But when I
finally did plunk down the loot, sure enough, I had Kevin in less than
three months. I don't even know where he came from. They took care of
all that, but I do know it was probably out of the country, because of
the blank INS forms I signed. But then, who cares? With a deal this
good, you don't press for details, right?"

Carly Grove had a mutual love affair with the camera. The footage was
going to be fabulous. The only problem was, it sounded like an
"infomercial" for the adoption miracle wrought by this doctor named
Goddard.

When the interview began to wind down, losing its punch, I suggested we
call it a day. With the time pushing two o'clock, I wanted to get the
film to the lab, get it developed, and take a look at the rushes. I
also had a doctor's appointment, not to mention a meeting with David to
bring him up to speed on what I was doing. But surely he was going to
be pleased. The interview, with Carly's honest intensity, would give
the picture spine and guts. Just as I'd hoped.

You could always tell by the reaction of the crew. Even Roger Drexel,
who usually hid his thoughts somewhere in his scraggly beard, was
letting his eyes sparkle behind his Panaflex. Scott was also grinning
as he struck the lights and Cafiero ripped up the power lines, now
taped to the floor. Everybody was in wrap mode, flushed with a great
shoot.

I followed Carly into the kitchen, where Marcy was feeding Kevin some
Gerber applesauce. The time had come, I thought, to spring the next big
question, out of earshot of the crew.

"I hate to put you on the spot, but do you know any other women like
you, single, who've adopted through Children of Light?" I decided to
experiment with the truth. "God knows, depending on what happens in my
own situation, I'm . . . I'm thinking I might even want to check them
out for myself."

"What do you mean?" She gave me a quick, concerned look.

"Maybe I'd like to talk to them about adopting too." I realized I was
babbling, my usual prelude to obsessing.

Carly's worried gaze eased up a bit, but she started twisting at her
hair.

"Well, I might have another name. When my lawyer first told me about
them, he gave me the name of another woman who'd adopted from them, and
I talked to her a little about how they worked. She'd just gotten her
baby, so I guess she was about six months ahead of me in the process.
Her name was . . . I think it was Pauline or Paula or something. She's
probably not the kind of person who'd take their 'no disclosure' crap
all that seriously. She was adopting a girl, and she lives somewhere on
the Upper West Side."

"Any idea how I could find her?"

"You know, she wrote kids' books, and I think she gave me her card. In
case I ever needed somebody to do some YA copy. Let me go look in my
Rolodex. I filed her card under 'Y' for Young Adult. Right. It'll just
take a second."

The woman, whose name was Paula Marks, lived on West 83rd Street. The
business card, a tasteful brown with a weave in the paper, described
her as an author. The address included a "suite" number, which meant
she worked out of her apartment.

"Mind if I take down her phone number and address? I'd really like to
look her up. To see if her experience was anything remotely like yours."

Carly gazed at her fingernails a second. "Okay, but do me a favor.
Don't tell her how you got her number." She bit her lip, stalling.
"It's one thing for me to talk to you myself. It's something else
entirely to go sticking my nose into other people's business."

"Look, I'll respect her privacy just as much as I respect yours." I
paused, listening to what I'd just said. The promise sounded pretty
lame. I'd just filmed her, or hadn't she noticed? "Look, let me call
Paula, see if she'll agree to be interviewed on camera. I'll keep your
name entirely out if it, I promise."

She reached down and plucked Kevin out of his high chair, kissed him on
his applesauce-smeared cheek, then hugged him. "Sorry. Guess I'm being
a little paranoid. I shouldn't invite you here, then give you a hard
time about what you're going to do, or not do. I can't have it both
ways."

In the ensuing tumult and confusion of the wrap, I did manage to get
one more item from Carly Grove. The address and phone number of
Children of Light. But I completely forgot the one thing I'd been
meaning to ask about. That little amulet, with the strange cat's face
and the lines and dots on the back. Why was Kevin wearing it? And by
the time I got to the street, surrounded by the clamor of crew and
equipment, it seemed too inconsequential to go back and bother with.