Before the Fall(25)

Nothing ever came.

He woke up one day and found he was a forty-year-old man with twenty years of booze and debauchery ballooning his middle and weathering his face. He had been engaged once and then not, had sobered and fallen from the wagon. He had been young once and limitless, and then somehow his life became a foregone conclusion. An almost was, not even a has been. Scott could see the obituary. Scott Burroughs, a talented, rakish charmer who had never lived up to his promise, who had long since crossed the line from fun-loving and mysterious to boorish and sad. But who was he kidding? Even the obituary was a fantasy. He was a nobody. His death would warrant nothing.

Then, after a weeklong party at the Hamptons house of a much more successful painter, Scott found himself lying facedown on the living room floor. He was forty-six years old. It was barely dawn. He staggered to his feet and out onto the patio. His head was pounding and his mouth tasted like a radial tire. He squinted in the glare of sudden sunlight, his hand rising to shield his face. The truth about him, his failure, came back as a throbbing head pain. And then, as his eyes adjusted, he lowered his hand and found himself staring into the famous artist’s swimming pool.

It was there that the artist and his girlfriend found Scott an hour later, naked and swimming laps, his chest on fire, his muscles aching. They yelled at him to come for a drink with them. But Scott waved them off. He felt alive again. The moment he entered the water it was like he was eighteen again and winning a gold medal at the national championship. He was sixteen, executing a perfect underwater pivot. He was twelve and getting up before dawn to slice the blue.

He swam backward through time, lap after lap, until he was six years old and watching Jack LaLanne tow a thousand-pound boat through San Francisco Bay, until that feeling returned—that deep boy certainty:

Anything is possible.

Everything is gettable.

You just have to want it badly enough.

Scott wasn’t old, it turned out. He wasn’t finished. He had just given up.

Thirty minutes later he climbed out of the pool and, without drying off, put on his clothes and went back to the city. For the next six months he swam three miles a day. He threw away the booze and the cigarettes. He cut out red meat and dessert. He bought canvas after canvas, covering every available surface with an expectant white primer. He was a boxer training for a fight, a cellist practicing for a concert. His body was his instrument, battered like Johnny Cash’s guitar, splintered and raw, but he was going to turn it into a Stradivarius.

He was a disaster survivor in that he had survived the disaster that was his life. And so that’s what he painted. That summer he rented a small house on Martha’s Vineyard and holed up. Once again the only thing that mattered was the work, except now he realized that the work was him. There is no separating yourself from the things you make, he thought. If you are a cesspool, what else can your work be except shit?

He got a dog and cooked her spaghetti and meatballs. Every day was the same. An ocean swim. Coffee and a pastry at the farmers market. Then hours of open time in his studio, brushstrokes and paint, lines and color. What he saw when he finished was too exciting to say out loud. He had made the great leap forward, and knowing this he became strangely terrified. The work became his secret, a treasure chest hidden in the rocky ground.

Only recently had he come out of hiding, first by attending a few dinner parties on the island, and then by allowing a Soho gallery to include a new piece in their 1990s retrospective. The piece had garnered a lot of attention. It was bought by an important collector. Scott’s phone started ringing. A few of the bigger reps came out and toured the studio. It was happening. Everything he had worked toward, a life’s pursuit about to be realized. All he had to do was grab the ring.

So he got on a plane.





Chapter 9




A dozen news vans are parked outside the hospital, camera crews assembled and waiting. Police barricades have been erected, half a dozen uniformed officers keeping things orderly. Scott spies on the scene from the hospital lobby, hiding behind a potted ficus. This is where Magnus finds him.

“Jesus, man,” he says. “You don’t do anything half-assed, do you?”

They man-hug. Magnus is a part-time painter and full-time ladies’ man, with just a trace of Irish lilt in his voice.

“Thanks for doing this,” Scott tells him.

“No worries, brother.”

Magnus gives Scott the once-over.

“You look like shite.”

“I feel like shite,” Scott says.

Magnus holds up a duffel bag.

“I brought some skivvies,” he says, “a fetching frock and some panties. You want to change?”

Scott looks over Magnus’s shoulder. Outside, the crowd is growing. They are there to see him, to get a glimpse, a sound bite from the man who swam for eight hours through the midnight Atlantic with a four-year-old boy on his back. He closes his eyes and pictures what will happen once he is dressed, once he steps through those doors, the spotlight and questions, his own face on TV. The circus of it, the blood frenzy.

There are no accidents, he thinks.

To Scott’s left is a long hall and a door that reads LOCKER ROOM.

“I’ve got a better idea,” Scott says. “But it involves you breaking the law.”

Magnus smiles.

“Just one?”

Ten minutes later, Scott and Magnus walk out a side door. They are both in scrubs now, wearing white lab coats, two doctors going home at the end of a long shift. Scott holds Magnus’s cell phone to his ear, talking to the dial tone. The ruse works. They reach Magnus’s car, a seen-better-days Saab, with a sun-bleached fabric roof. Inside, Scott reaffixes the sling over his left shoulder.