But Brad had grown up with too much money and privilege and good looks. For all the shallow social successes his charm bought him, he harbored the nagging sense that he was worthless, that he lived off the Lambert family's accomplishments and not his own, that he used his sister's family to anchor him because he lacked what it took to create one of his own. As he got older, he noticed changes in his relationship with other scions of the aristocracy: He became less of a peer than an icon of perpetual immaturity, the one who never quite grew up. People liked him, but they didn't respect him, didn't trust him in business dealings; as a result, his entrepreneurial efforts never panned out. The same was true in his intimate life. Women of his class learned he was fun for a fling but not any kind of candidate for marriage. Aside from his connection with his sister's household, he found himself increasingly outside the main channel of New Orleans social and business life.
Except for Carnival – that was an arena in which he could earn respect. Carnival had different standards. Status then was measured by the very things that jeopardized it in daily life: hard drinking, pranks, flirtations and risque talk, sexual escapades and braggadocio, wild dancing, lavish spending, showing off, pushing every boundary of acceptable behavior. Fat Tuesday was almost a competition to see who could cut most loose, especially among the younger men. And here Bradford excelled.
Josephine's implacable rasp painted a clear portrait: For Bradford, the Mardi Gras of 1971 folded together the toxic psychological elements required for the sadistic rape of his niece. The lust-charged exuberance and abandon combined with the frustration and rage at his growing sense of irrelevance, his impotence in other spheres of life, an unending string of failed romances.
And Lila had turned into a beauty. At fourteen, she had already grown into a woman's shape, with fuller breasts and broader hips than her friends, and that confidence, that assertiveness, that spunk. Brad had long since begun injecting playful sexual innuendo into their conversations, flattering and teasing her, and Lila had thrown it right back, vamping and scorning him. The family laughed at the whole thing.
The morning after, when Josephine had seen the blood on Lila's sheets and had put it together with the change in Lila's affect and the mess in the house, she had gone straight to Lila. Lila had at first denied that anything was wrong. But after only a few moments of Josephine's probing she broke, crawled crying like a toddler into her nanny's lap, and told the story.
She was afraid to tell Momma, she said. She hurt inside. He had said things that suggested it was her fault, her own secret wish. It was 1971, the miniskirt had finally hit New Orleans, she had taken to wearing one over Daddy's objections, and she and all her friends were dancing to that kind of music he disapproved of. Maybe he was right, she deserved it, she had sort of asked for it? When he'd made those animal noises, pig noises, the whole time, it was like he'd wanted her to feel like an animal. And she did, she felt filthy and disgusting. She hated herself.
In that moment, Josephine learned that she herself was capable of the worst sin, that she could kill a man.
Lila couldn't face Charmian, so Josephine went to her. She was sitting in the study next to her bedroom, hungover, nursing her coffee and going through some Polaroids from the night before. Charmian confirmed that Richard – dressed as a pirate, dressed as Brad – had never left the Hardings' last night, and that he and Brad had revealed the costume switch near the end of the evening, as planned. And the proof was right there: the partyers grinning at the camera, Richard smiling ear-to-ear after lifting off his pirate face mask and wig. And Bradford, the boar mask under his arm, hair wet with sweat, mouth smiling but eyes to one side as if the enormity of what he'd done was catching up to him.
Charmian's rage had been terrifying to behold, and Josephine recognized the blood look in her eyes because she'd felt it in her own only moments before: Charmian, too, could kill. And yet Josephine knew she was also wounded, in agony over her daughter's distress and staggered by the fact that her younger brother was capable of this.
Telling it, Josephine had to sit down again. There was a stump among the maze of paths, and Cree helped her fold her length onto it.
"Before I lef that room, she tol' me one thing. She say, 'You don't tell anyone.' I knowed that woman, know she hurtin' for Lila, see, but she thinkin' of Ron, too, she thinkin' of the Lambert name an' the Beauforte name. Me, I can't get past thinkin' 'bout that sweet baby girl and 'bout somebody could do that to her. But Charmian, she thinkin' ahead. She playin' it out in her mind. I says, 'No, ma'am,' but she know I don't ean it and she stop me at the door. She tell me to look at her. And what I see, I never forget. Never forget that woman's eye. She say again, 'You don't tell anyone. You don't talk to Lila. You don't talk to Richard. This is my family, and this is my respons'bility.' She say, 'Don't underestimate me, Jos'phine. What I will do to keep this from doin' more damage than it already done.' And I know she mean she kill me or anybody, not just the man raped her daughter. I b'lieve it down to my shoes."
Cree could easily imagine Charmian saying it, the cold steel in her eyes, the saber of her voice.
Later, passing by the door to Lila's bedroom, she several times overheard Charmian talking to her daughter in hushed, urgent, hard tones. But Josephine couldn't be quiet about it. The anger and concern were too great. She tried to talk to Lila, but Lila wouldn't open up again, and Josephine thought maybe that was a good thing, she was hardening herself as she had to. It took another week or more to find a time to tell Richard. She was shocked to learn that Charmian hadn't told him. But he admitted he had seen the difference in his beloved daughter, and now he was outraged to learn its reason. He stormed off to talk to Charmian.
Another two weeks went by and the household started to fragment into secrets, quiet hatreds, hushed conversations, and tense silences. Poor Ron, knowing nothing, was especially confused. Lila grew increasingly distant, her light dimming, the lid coming over her.
Bradford had not returned to the house, but Richard and Brad's regular three-day fishing expedition was coming up. The night before the trip, Richard came to Josephine, told her to help ready his gear for their early morning departure. The way it always worked was Bradford got up early, came to the house at three-thirty or four A.M., they'd drive down to the private dock where Richard kept his boat, then continue by water the last ten miles or so. The place was an old trapper's cabin Brad had won in a card game years before, deep in the brackish swamps of Terrebonne Parish, back where water and land merged in a labyrinthine lacework.
Three in the morning, and Richard woke Josephine up. The rest of the household was fast asleep as she joined him in the library. When Brad came in, Richard locked the library door and confronted him. Brad looked sick with nervousness, but at first he pretended he thought Richard was joking. Richard threatened him and then had Josephine confront him as well. Brad shifted strategies, claimed it hadn't really been rape, it didn't get that far, it was just horsing around. When that didn't stick, he shifted again, saying it was Lila's fault. She was a ripe one, a hot one, a little slut who knew perfectly well what she was doing; he wasn't the first, she was lying if she said he was.
At that, Richard's rage built in him until he became a human bomb. At first he just demanded that Brad admit what he did, apologize on his hands and knees to Lila, and then leave New Orleans forever. But Brad resisted and anyway it wasn't enough. Richard bulled him, pushed him, took up the poker and threatened him with it. And Brad, afraid now, admitted, wept, swore he was sorry. But it was too late. The admission only inflamed Richard, the bomb had been triggered. Richard's face was a knot of red bulging veins, the enonnity of it was catching up with him; he hit Brad, he kept beating Brad, he couldn't stop himself. At first Josephine was shocked, but when Richard finally came to his senses and looked at the poker, appalled, she took it from his hands. Bradford was lying on the floor, maybe already critically injured. And Josephine struck him, too – once, and then again, with all the strength her capable arms could muster. And then he stopped moving. Josephine's heart rose up, joyous in vengeance.