Now it is June, now it is July. The wounds on his legs-the old ones, which he has had for more than a year, and the more recent ones, which he has had since March-have not healed. They have barely diminished. And it is then, just after the Fourth of July weekend, just after Willem's run ends, that Andy asks if he can come talk to him and Willem. And because he knows what Andy is going to say, he lies and says that Willem is busy, that Willem doesn't have the time, as if by delaying the conversation, he might delay his future as well, but early one Saturday evening he comes home from the office and there they are in the apartment, waiting for him.

The speech is what he expects. Andy recommends-he strongly recommends-amputation. Andy is gentle, very gentle, but he can tell, from how rehearsed his delivery is, from how formal he is, that he is nervous.

"We always knew this day would come," Andy begins, "but that doesn't make it any easier. Jude, only you know how much pain, how much inconvenience, you can tolerate. I can't tell you that. I can tell you that you've gone on far longer than most people would. I can tell you you've been extraordinarily courageous-don't make that face: you have been; you are-and I can tell you that I can't imagine what you've been suffering.

"But all of that aside-even if you feel you have the wherewithal to keep going-there are some realities to consider here. The treatments aren't working. The wounds aren't healing. The fact that you've had two bone infections in less than a year is alarming to me. I'm worried you're going to develop an allergy to one of the antibiotics, and then we'll be really, really fucked. And even if you don't, you're not tolerating the drugs as well as I'd hoped you would: you've lost way too much weight, a troubling amount of weight, and every time I see you, you've gotten a little weaker.

"The tissue in your upper legs seems to be healthy enough that I'm pretty certain we'll be able to spare both knees. And Jude, I promise you that your quality of life will improve instantly if we amputate. There won't be any more pain in your feet. You've never had a wound on your thighs, and I don't think there's any immediate fear you will. The prosthetics available now are so infinitely superior than what they were even ten years ago that honestly, your gait will probably be better, more natural, with them than it is with your actual legs. The surgery is very straightforward-just four hours or so-and I'll do it myself. And the inpatient recovery is brief: less than a week in the hospital, and we'll fit you with temporary prostheses immediately."

Andy stops, placing his hands on his knees, and looks at them. For a long while, none of them speaks, and then Willem begins to ask questions, smart questions, questions he should be asking: How long is the outpatient recovery period? What kind of physical therapy would he be doing? What are the risks associated with the surgery? He half listens to the responses, which he already knows, more or less, having researched these very questions, this very scenario, every year since Andy had first suggested it to him, seventeen years ago.

Finally, he interrupts them. "What happens if I say no?" he asks, and he can see the dismay move across both of their faces.

"If you say no, we'll keep pushing forward with everything we've been doing and hope it works eventually," Andy says. "But Jude, it's always better to have an amputation when you get to decide to have it, not when you're forced to have it." He pauses. "If you get a blood infection, if you develop sepsis, then we will have to amputate, and I won't be able to guarantee that you'll keep the knees. I won't be able to guarantee that you won't lose some other extremity-a finger; a hand-that the infection won't spread far beyond your lower legs."

"But you can't guarantee me that I'll even keep the knees this time," he says, petulant. "You can't guarantee I won't develop sepsis in the future."

"No," Andy admits. "But as I said, I think there's a very good chance you will keep them. And I think if we remove this part of your body that's so gravely infected that it'll help prevent further disease."

They are all quiet again. "This sounds like a choice that isn't a choice," he mutters.

Andy sighs. "As I said, Jude," he says, "it is a choice. It's your choice. You don't have to make it tomorrow, or even this week. But I want you to think about it, carefully."

He leaves, and he and Willem are left alone. "Do we have to talk about it now?" he asks, when he can finally look at Willem, and Willem shakes his head. Outside the sky is turning rose-colored; the sunset will be long and beautiful. But he doesn't want beauty. He wishes, suddenly, that he could swim, but he hasn't swum since the first bone infection. He hasn't done anything. He hasn't gone anywhere. He has had to turn his London clients over to a colleague, because his IV has tethered him to New York. His muscles have disappeared: he is soft flesh on bone; he moves like an old man. "I'm going to bed," he tells Willem, and when Willem says, quietly, "Yasmin's coming in a couple of hours," he wants to cry. "Right," he says, to the floor. "Well. I'm going to take a nap, then. I'll wake up for Yasmin."

That night, after Yasmin has left, he cuts himself for the first time in a long time; he watches the blood weep across the marble and into the drain. He knows how irrational it seems, his desire to keep his legs, his legs that have caused him so many problems, that have cost him how many hours, how much money, how much pain to maintain? But still: They are his. They are his legs. They are him. How can he willingly cut away a part of himself? He knows that he has already cut away so much of himself over the years: flesh, skin, scars. But somehow this is different. If he sacrifices his legs, he will be admitting to Dr. Traylor that he has won; he will be surrendering to him, to that night in the field with the car.

And it is also different because he knows that once he loses them, he will no longer be able to pretend. He will no longer be able to pretend that someday he will walk again, that someday he will be better. He will no longer be able to pretend that he isn't disabled. Up, once more, will go his freak-show factor. He will be someone who is defined, first and always, by what he is missing.

And he is tired. He doesn't want to have to learn how to walk again. He doesn't want to work at regaining weight he knows he will lose, weight on top of the weight he has struggled to replace from the first bone infection, weight that he has re-lost with the second. He doesn't want to go back into the hospital, he doesn't want to wake disoriented and confused, he doesn't want to be visited by night terrors, he doesn't want to explain to his colleagues that he is sick yet again, he doesn't want the months and months of being weak, of fighting to regain his equilibrium. He doesn't want Willem to see him without his legs, he doesn't want to give him one more challenge, one more grotesquerie to overcome. He wants to be normal, he has only ever wanted to be normal, and yet with each year, he moves further and further from normalcy. He knows it is fallacious to think of the mind and the body as two separate, competing entities, but he cannot help it. He doesn't want his body to win one more battle, to make the decision for him, to make him feel so helpless. He doesn't want to be dependent on Willem, to have to ask him to lift him in and out of bed because his arms will be too useless and watery, to help him use the bathroom, to see the remains of his legs rounded into stumps. He had always assumed that there would be some sort of warning before this point, that his body would alert him before it became seriously worse. He knows, he does, that this past year and a half was his warning-a long, slow, consistent, unignorable warning-but he has chosen, in his arrogance and stupid hope, not to see it for what it is. He has chosen to believe that because he had always recovered, that he would once again, one more time. He has given himself the privilege of assuming that his chances are limitless.

Three nights later he wakes again with a fever; again he goes into the hospital; again he is discharged. This fever has been caused by an infection around his catheter, which is removed. A new one is inserted into his internal jugular vein, where it forms a bulge that not even his shirt collars can wholly camouflage.

His first night back home, he is coasting through his dreams when he opens his eyes and sees that Willem isn't in bed next to him, and he works himself into his wheelchair and glides out of the room.

He sees Willem before Willem sees him; he is sitting at the dining table, the light on above him, his back to the bookcases, staring out into the room. There is a glass of water before him, and his elbow is resting on the table, his hand supporting his chin. He looks at Willem and sees how exhausted he is, how old, his bright hair gone whitish. He has known Willem for so long, has looked at his face so many times, that he is never able to see him anew: his face is better known to him than his own. He knows its every expression. He knows what Willem's different smiles mean; when he is watching him being interviewed on television, he can always tell when he is smiling because he's truly amused and when he is smiling to be polite. He knows which of his teeth are capped, and he knows which ones Kit made him straighten when it was clear that he was going to be a star, when it was clear that he wouldn't just be in plays and independent films but would have a different kind of career, a different kind of life. But now he looks at Willem, at his face that is still so handsome but also so tired, the kind of tiredness he thought only he was feeling, and realizes that Willem is feeling it as well, that his life-Willem's life with him-has become a sort of drudgery, a slog of illnesses and hospital visits and fear, and he knows what he will do, what he has to do.

"Willem," he says, and watches Willem jerk out of his trance and look at him.

"Jude," Willem says. "What's wrong? Are you feeling sick? Why are you out of bed?"

"I'm going to do it," he says, and he thinks that they are like two actors on a stage, talking to each other across a great distance, and he wheels himself close to him. "I'm going to do it," he repeats, and Willem nods, and then they lean their foreheads into each other's, and both of them start crying. "I'm sorry," he tells Willem, and Willem shakes his head, his forehead rubbing against his.

"I'm sorry," Willem tells him back. "I'm sorry, Jude. I'm so sorry."

"I know," he says, and he does.

The next day he calls Andy, who is relieved but also muted, as if out of respect to him. Things move briskly after that. They pick a date: the first date Andy proposes is Willem's birthday, and even though he and Willem have agreed that they'll celebrate Willem's fiftieth birthday once he's better, he doesn't want to have the surgery on the actual day. So instead he'll have it at the end of August, the week before Labor Day, the week before they usually go to Truro. In the next management committee meeting, he makes a brief announcement, explaining that this is a voluntary operation, that he'll only be out of the office for a week, ten days at the most, that it isn't a big deal, that he'll be fine. Then he announces it to his department; he normally wouldn't, he tells them, but he doesn't want their clients to worry, he doesn't want them to think that it's something more serious than it is, he doesn't want to be the subject of rumors and chatter (although he knows he will be). He reveals so little about himself at work that whenever he does, he can see people sit up and lean forward in their seats, can almost see their ears lift a little higher. He has met all of their wives and husbands and girlfriends and boyfriends, but they have never met Willem. He has never invited Willem to one of the company's retreats, to their annual holiday parties, to their annual summer picnics. "You'd hate them," he tells Willem, although he knows that isn't really the case: Willem can have a good time anywhere. "Believe me." And Willem has always shrugged. "I'd love to come," he has always said, but he has never let him. He has always told himself that he is protecting Willem from a series of events that he would surely find tedious, but he has never considered that Willem might be hurt by his refusal to include him, might actually want to be a part of his life beyond Greene Street and their friends. He flushes now, realizing this.

"Any questions?" he asks, not really expecting any, when he sees one of the younger partners, a callous but scarily effective man named Gabe Freston, raise his hand. "Freston?" he says.

"I just wanted to say that I'm really sorry, Jude," says Freston, and around him, everyone murmurs their agreement.

He wants to make the moment light, to say-because it is true-"That's the first time I've heard you be so sincere since I told you what your bonus would be last year, Freston," but he doesn't, just takes a deep breath. "Thank you, Gabe," he says. "Thanks, all of you. Now everyone-back to work," and they scatter.

The surgery will be on a Monday, and although he stays at the office late on Friday, he doesn't go in on Saturday. That afternoon, he packs a bag for the hospital; that evening, he and Willem have dinner at the tiny sushi place where they first celebrated the Last Supper. His final sessions with Patrizia and Yasmin had been on Thursday; Andy calls early on Saturday to tell him that he has the X-rays back, and that although the infection hasn't budged, it also hasn't spread. "Obviously, it won't be a problem after Monday," he says, and he swallows, hard, just as he had when Andy had said earlier that week, "You won't have this foot pain after next Monday." He remembers then that it is not the problem that is being eradicated; it is the source of the problem that is being eradicated. One is not the same as the other, but he supposes he has to be grateful, finally, for eradication, however it is delivered.

He eats his final meal on Sunday at seven p.m.; the surgery is at eight the next morning, and so he is to have no more food, no more medication, nothing to drink, for the rest of the night.

An hour later, he and Willem descend in the elevator to the ground floor, for his last walk on his own legs. He has made Willem promise him this walk, and even before they begin-they will go south on Greene one block to Grand, then west just another block to Wooster, then up Wooster four blocks to Houston, then back east to Greene and south to their apartment-he isn't sure he'll be able to finish. Above them, the sky is the color of bruises, and he remembers, suddenly, being forced out onto the street, naked, by Caleb.

He lifts up his left leg and begins. Down the quiet street they walk, and at Grand, as they are turning right, he takes Willem's hand, which he never does in public, but now he holds it close, and they turn right again and begin moving up Wooster.

He had wanted so badly to complete this circuit, but perversely, his inability to do so-at Spring, still two blocks south of Houston, Willem glances at him and, without even asking, starts walking him back east to Greene Street-reassures him: he is making the right decision. He has pressed up against the inevitable, and he has made the only choice he could make, not just for Willem's sake, but for his own. The walk has been almost unbearable, and when he gets back to the apartment, he is surprised to feel that his face is wet with tears.

The next morning, Harold and Julia meet them at the hospital, looking gray and frightened. He can tell they are trying to remain stoic for him; he hugs and kisses them both, assures them he'll be fine, that there's nothing to worry about. He is taken away to be prepped. Since the injury, the hair on his legs has always grown unevenly, around and between the scars, but now he is shaved clean above and below his kneecaps. Andy comes in, holds his face in his hands, and kisses him on his forehead. He doesn't say anything, just takes out a marker and draws a series of dashes, like Morse code signals, in inverted arcs a few inches below the bottoms of both knees, then tells him he'll be back, but that he'll send Willem in.

Willem comes over and sits on the edge of his bed, and they hold each other's hands in silence. He is about to say something, make some stupid joke, when Willem begins to cry, and not just cry, but keen, bending over and moaning, sobbing like he has never seen anyone sob. "Willem," he says, desperately, "Willem, don't cry: I'm going to be fine. I really am. Don't cry. Willem, don't cry." He sits up in the bed, wraps his arms around Willem. "Oh, Willem," he sighs, near tears himself. "Willem, I'm going to be okay. I promise you." But he can't soothe him, and Willem cries and cries.

He senses that Willem is trying to say something, and he rubs his back, asking him to repeat himself. "Don't go," he hears Willem say. "Don't leave me."

"I promise I won't," he says. "I promise. Willem-it's an easy surgery. You know I have to come out on the other side so Andy can lecture me some more, right?"

It is then that Andy walks in. "Ready, campers?" he asks, and then he sees and hears Willem. "Oh god," he says, and he comes over, joins their huddle. "Willem," he says, "I promise I'll take care of him like he's my own, you know that, right? You know I won't let anything happen to him?"

"I know," they hear Willem gulp, at last. "I know, I know."

Finally, they are able to calm Willem down, who apologizes and wipes at his eyes. "I'm sorry," Willem says, but he shakes his head, and pulls on Willem's hand until he brings his face to his own, kisses him goodbye. "Don't be," he tells him.

Outside the operating room, Andy brings his head down to his, and kisses him again, this time on his cheek. "I'm not going to be able to touch you after this," he says. "I'll be sterile." The two of them grin, suddenly, and Andy shakes his head. "Aren't you getting a little old for this kind of puerile humor?" he asks.

"Aren't you?" he asks. "You're almost sixty."

"Never."

Then they are in the operating room, and he is gazing at the bright white disk of light above him. "Hello, Jude," says a voice behind him, and he sees it's the anesthesiologist, a friend of Andy's named Ignatius Mba, whom he's met before at one of Andy and Jane's dinner parties.

"Hi, Ignatius," he says.

"Count backward from ten for me," says Ignatius, and he begins to, but after seven, he is unable to count any further; the last thing he feels is a tingling in his right toes.

Three months later. It is Thanksgiving again, and they are having it at Greene Street. Willem and Richard have cooked everything, arranged everything, while he slept. His recovery has been harder and more complicated than anticipated, and he has contracted infections, twice. For a while he was on a feeding tube. But Andy was right: he has kept both knees. In the hospital, he would wake, telling Harold and Julia, telling Willem, that it felt like there was an elephant sitting on his feet, rocking back and forth on its rump until his bones turned into cracker dust, into something finer than ash. But they never told him that he was imagining this; they only told him that the nurse had just added a painkiller to his IV drip for this very purpose, and that he would be feeling better soon. Now he has these phantom pains less and less frequently, but they haven't disappeared entirely. And he is still very tired, he is still very weak, and so Richard has placed a mauve velvet wingback chair on casters-one that India sometimes uses for sittings-for him at the head of the table, so he can lean his head against its wings when he feels depleted.

That dinner is Richard and India, Harold and Julia, Malcolm and Sophie, JB and his mother, and Andy and Jane, whose children are visiting Andy's brother in San Francisco. He starts to give a toast, thanking everyone for everything they have given him and done for him, but before he gets to the person he wants to thank most-Willem, sitting to his right-he finds he cannot continue, and he looks up from his paper at his friends and sees that they are all going to cry, and so he stops.

He is enjoying the dinner, amused even by how people keep adding scoops of different food to his plate, even though he hasn't eaten much of his first serving, but he is so sleepy, and eventually he burrows back into the chair and closes his eyes, smiling as he listens to the familiar conversation, the familiar voices, fill the air around him.

Eventually Willem notices that he is falling asleep, and he hears him stand. "Okay," he says, "time for your diva exit," and turns the chair from the table and begins pushing it away toward their bedroom, and he uses the last of his strength to answer everyone's laughter, their song of goodbyes, to peek out around the wing of the chair and smile at them, letting his fingers trail behind him in an airy, theatrical wave. "Stay," he calls out as he is taken from them. "Please stay. Please stay and give Willem some decent conversation," and they agree they will; it isn't even seven, after all-they have hours and hours. "I love you," he calls to them, and they shout it back at him, all of them at once, although even in their chorus, he can still distinguish each individual voice.

At the doorway to their bedroom, Willem lifts him-he has lost so much weight, and without his prostheses is so less storklike a form, that now even Julia can lift him-and carries him to their bed, helps him undress, helps him remove his temporary prostheses, folds the covers back over him. He pours him a glass of water, hands him his pills: an antibiotic, a fistful of vitamins. He swallows them all as Willem watches, and then for a while Willem sits on the bed next to him, not touching him, but simply near.

"Promise me you'll go out there and stay up late," he tells Willem, and Willem shrugs.

"Maybe I'll just stay here with you," he says. "They seem to be having a fine time without me." And sure enough, there is a burst of laughter from the dining room, and they look at each other and smile.

"No," he says, "promise me," and finally, Willem does. "Thank you, Willem," he says, inadequately, his eyes closing. "This was a good day."

"It was, wasn't it?" he hears Willem say, and then he begins to say something else, but he doesn't hear it because he has fallen asleep.

That night his dreams wake him. It is one of the side effects of the particular antibiotic he is on, these dreams, and this time, they are worse than ever. Night after night, he dreams. He dreams that he is in the motel rooms, that he is in Dr. Traylor's house. He dreams that he is still fifteen, that the previous thirty-three years haven't even happened. He dreams of specific clients, specific incidents, of things he hadn't even known he remembered. He dreams that he has become Brother Luke himself. He dreams, again and again, that Harold is Dr. Traylor, and when he wakes, he feels ashamed for attributing such behavior to Harold, even in his subconscious, and at the same time fearful that the dream might be real after all, and he has to remind himself of Willem's promise: Never, ever, Jude. He would never do that to you, not for anything.

Sometimes the dreams are so vivid, so real, that it takes minutes, an hour for him to return to his life, for him to convince himself that the life of his consciousness is in fact real life, his real life. Sometimes he wakes so far from himself that he can't even remember who he is. "Where am I?" he asks, desperate, and then, "Who am I? Who am I?"

And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem's whispered incantation. "You're Jude St. Francis. You are my oldest, dearest friend. You're the son of Harold Stein and Julia Altman. You're the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs.

"You're a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen.

"You're a swimmer. You're a baker. You're a cook. You're a reader. You have a beautiful voice, though you never sing anymore. You're an excellent pianist. You're an art collector. You write me lovely messages when I'm away. You're patient. You're generous. You're the best listener I know. You're the smartest person I know, in every way. You're the bravest person I know, in every way.

"You're a lawyer. You're the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it.

"You're a mathematician. You're a logician. You've tried to teach me, again and again.

"You were treated horribly. You came out on the other end. You were always you."

On and on Willem talks, chanting him back to himself, and in the daytime-sometimes days later-he remembers pieces of what Willem has said and holds them close to him, as much as for what he said as for what he didn't, for how he hadn't defined him.

But in the nighttime he is too terrified, he is too lost to recognize this. His panic is too real, too consuming. "And who are you?" he asks, looking at the man who is holding him, who is describing someone he doesn't recognize, someone who seems to have so much, someone who seems like such an enviable, beloved person. "Who are you?"

The man has an answer to this question as well. "I'm Willem Ragnarsson," he says. "And I will never let you go."

"I'm going," he tells Jude, but then he doesn't move. A dragonfly, as shiny as a scarab, hums above them. "I'm going," he repeats, but he still doesn't move, and it is only the third time he says it that he's finally able to stand up from the lounge chair, drunk on the hot air, and shove his feet back into his loafers.

"Limes," says Jude, looking up at him and shielding his eyes against the sun.

"Right," he says, and bends down, takes Jude's sunglasses off him, kisses him on his eyelids, and replaces his glasses. Summer, JB has always said, is Jude's season: his skin darkens and his hair lightens to almost the same shade, making his eyes turn an unnatural green, and Willem has to keep himself from touching him too much. "I'll be back in a little while."

He trudges up the hill to the house, yawning, places his glass of half-melted ice and tea in the sink, and crunches down the pebbled driveway to the car. It is one of those summer days when the air is so hot, so dry, so still, the sun overhead so white, that one doesn't so much see one's surroundings as hear and smell and taste them: the lawn-mower buzz of the bees and locusts, the faint peppery scent of the sunflowers, the oddly mineral flavor the heat leaves on the tongue, as if he's just sucked on stones. The heat is enervating, but not in an oppressive way, only in a way that makes them both sleepy and defenseless, in a way that makes torpor not just acceptable but necessary. When it is hot like this they lie by the pool for hours, not eating but drinking-pitchers of iced mint tea for breakfast, liters of lemonade for lunch, bottles of Aligote for dinner-and they leave the house's every window, every door open, the ceiling fans spinning, so that at night, when they finally seal it shut, they trap within it the fragrance of meadows and trees.

It is the Saturday before Labor Day, and they would normally be in Truro, but this year they have rented Harold and Julia a house outside Aix-en-Provence for the entire summer, and the two of them are spending the holiday in Garrison instead. Harold and Julia will arrive-maybe with Laurence and Gillian, maybe not-tomorrow, but today Willem is picking up Malcolm and Sophie and JB and his on-again, off-again boyfriend Fredrik from the train station. They've seen very little of their friends for months now: JB has been on a fellowship in Italy for the past six months, and Malcolm and Sophie have been so busy with the construction of a new ceramics museum in Shanghai that the last time they saw them all was in April, in Paris-he was filming there, and Jude had come in from London, where he was working, and JB in from Rome, and Malcolm and Sophie had laid over for a couple of days on their way back to New York.

Almost every summer he thinks: This is the best summer. But this summer, he knows, really is the best. And not just the summer: the spring, the winter, the fall. As he gets older, he is given, increasingly, to thinking of his life as a series of retrospectives, assessing each season as it passes as if it's a vintage of wine, dividing years he's just lived into historical eras: The Ambitious Years. The Insecure Years. The Glory Years. The Delusional Years. The Hopeful Years.

Jude had smiled when he told him this. "And what era are we in now?" he asked, and Willem had smiled back at him. "I don't know," he said. "I haven't come up with a name for it yet."

But they both agreed that they had at least exited The Awful Years. Two years ago, he had spent this very weekend-Labor Day weekend-in a hospital on the Upper East Side, staring out the window with a hatred so intense it nauseated him at the orderlies and nurses and doctors in their jade-green pajamas congregating outside the building, eating and smoking and talking on their phones as if nothing were wrong, as if above them weren't people in various stages of dying, including his own person, who was at that moment in a medically induced coma, his skin prickling with fever, who had last opened his eyes four days ago, the day after he had gotten out of surgery.

"He's going to be fine, Willem," Harold kept babbling at him, Harold who was in general even more of a worrier than Willem himself had become. "He's going to be fine. Andy said so." On and on Harold went, parroting back to Willem everything that he had already heard Andy say, until finally he had snapped at him, "Jesus, Harold, give it a fucking break. Do you believe everything Andy says? Does he look like he's getting better? Does he look like he's going to be fine?" And then he had seen Harold's face change, his expression of pleading, frantic desperation, the face of an old, hopeful man, and he had been punched with remorse and had gone over and held him. "I'm sorry," he said to Harold, Harold who had already lost one son, who was trying to reassure himself that he wouldn't lose another. "I'm sorry, Harold, I'm sorry. Forgive me. I'm being an asshole."

"You're not an asshole, Willem," Harold had said. "But you can't tell me he's not going to get better. You can't tell me that."

"I know," he said. "Of course he's going to get better," he said, sounding like Harold, Harold echoing Harold to Harold. "Of course he is." But inside of him, he felt the beetley scrabble of fear: of course there was no of course. There never had been. Of course had vanished eighteen months ago. Of course had left their lives forever.

He had always been an optimist, and yet in those months, his optimism deserted him. He had canceled all of his projects for the rest of the year, but as the fall dragged on, he wished he had them; he wished he had something to distract himself. By the end of September, Jude was out of the hospital, and yet he was so thin, so frail, that Willem had been scared to touch him, scared to even look at him, scared to see the way that his cheekbones were now so pronounced that they cast permanent shadows around his mouth, scared to see the way he could watch Jude's pulse beating in the scooped-out hollow of his throat, as if there was something living inside of him that was trying to kick its way out. He could feel Jude trying to comfort him, trying to make jokes, and that made him even more scared. On the few occasions he left the apartment-"You have to," Richard had told him, flatly, "you're going to go crazy otherwise, Willem"-he was tempted to turn his phone off, because every time it chirped and he saw it was Richard (or Malcolm, or Harold, or Julia, or JB, or Andy, or the Henry Youngs, or Rhodes, or Elijah, or India, or Sophie, or Lucien, or whoever was sitting with Jude for the hour or so that he was distractedly wandering the streets or working out downstairs or, a few times, trying to lie still through a massage or sit through lunch with Roman or Miguel), he would tell himself, This is it. He's dying. He's dead, and he would wait a second, another second, before answering the phone and hearing that the call was only a status report: That Jude had eaten a meal. That he hadn't. That he was sleeping. That he seemed nauseated. Finally he had to tell them: Don't call me unless it's serious. I don't care if you have questions and calling's faster; you have to text me. If you call me, I'll think the worst. For the first time in his life, he understood, viscerally, what it meant when people said their hearts were in their throats, although it wasn't just his heart he could feel but all his organs thrusting upward, trying to exit him through his mouth, his innards scrambled with anxiety.

People always spoke of healing as if it were predictable and progressive, a decisive diagonal line pointing from the lower left-hand corner of a graph to the upper right. But Hemming's healing-which hadn't ended with his healing at all-hadn't been like that, and Jude's hadn't either: theirs were a mountain range of peaks and trenches, and in the middle of October, after Jude had gone back to work (still scarily thin, still scarily weak), there had been a night when he had woken with a fever so high that he had started seizing, and Willem had been certain that this was the moment, that this was the end. He had realized then that despite his fear, he had never really prepared himself, that he had never really thought of what it would mean, and although he wasn't a bargainer by nature, he bargained now, with someone or something he didn't even know he believed in. He promised more patience, more gratitude, less swearing, less vanity, less sex, less indulgence, less complaining, less self-absorption, less selfishness, less fearfulness. When Jude had lived, Willem's relief had been so total, so punishing, that he had collapsed, and Andy had prescribed him an antianxiety pill and sent him up to Garrison for the weekend with JB for company, leaving Jude in his and Richard's care. He had always thought that unlike Jude, he had known how to accept help when it was offered, but he had forgotten this skill at the most crucial time, and he was glad and grateful that his friends had made the effort to remind him.

By Thanksgiving, things had become-if not good, then they had at least stopped being bad, which they accepted as the same thing. But it was only in retrospect that they had been able to recognize it as a sort of fulcrum, as the period in which there were first days, and then weeks, and then an entire month in which nothing got worse, in which they regained the trick of waking each day with not dread but with purpose, in which they were finally, cautiously, able to talk about the future, to worry not just about making it successfully through the day but into days they couldn't yet imagine. It was only then that they were able to talk about what needed to be done, only then that Andy began making serious schedules-schedules with goals set one month, two months, six months away-that tracked how much weight he wanted Jude to gain, and when he would be fitted with his permanent prostheses, and when he wanted him to take his first steps, and when he wanted to see him walking again. Once again, they rejoined the slipstream of life; once again, they learned to obey the calendar. By February Willem was reading scripts again. By April, and his forty-ninth birthday, Jude was walking again-slowly, inelegantly, but walking-and looking once again like a normal person. By Willem's birthday that August, almost a year after his surgery, his walk was, as Andy had predicted, better-silkier, more confident-than it had been with his own legs, and he looked, once again, better than a normal person: he looked like himself again.

"We still haven't had your fiftieth birthday blowout," Jude had reminded him over his fifty-first birthday dinner-his birthday dinner that Jude had made, standing by himself at the stove for hours, displaying no apparent signs of fatigue-and Willem had smiled.

"This is all I want," he'd said, and he meant it. It felt silly to compare his experience of such a depleting, brutal two years to Jude's own experience, and yet he felt transformed by them. It was as if his despair had given rise to a sense of invincibility; he felt that everything extraneous and soft had been burned off of him and he was left as an exposed steel core, indestructible and yet pliant, able to withstand anything.

They spent his birthday in Garrison, just the two of them, and that night, after dinner, they went down to the lake, and he took off his clothes and jumped off the dock into the water, which smelled and looked like a great pool of tea. "Come in," he told Jude, and then, when he hesitated, "As the birthday boy, I command it." And Jude had slowly undressed, and taken off his prostheses, and then had finally pushed off the edge of the dock with his hands, and Willem had caught him. As Jude had gotten physically healthier, he had also grown more and more self-conscious about his body, and Willem knew, from how withdrawn Jude would become at times, from how carefully he shielded himself when he was taking off or putting on his legs, how much he struggled with accepting how he now appeared. When he had been weaker, he had let Willem help undress him, but now that he was stronger, Willem saw him unclothed only in glimpses, only by accident. But he had decided to view Jude's self-consciousness as a certain kind of healthiness, for it was at least proof of his physical strength, proof that he was able to get in and out of the shower by himself, to climb in and out of bed by himself-things he'd had to relearn how to do, things he once hadn't had the energy to do on his own.

Now they drifted through the lake, swimming or clinging to each other in silence, and after Willem got out, Jude did as well, heaving himself onto the deck with his arms, and they sat there for a while in the soft summer air, both of them naked, both of them staring at the tapered ends of Jude's legs. It was the first time he had seen Jude naked in months, and he hadn't known what to say, and in the end had simply put his arm around him and pulled him close, and that had (he thought) been the right thing to say after all.

He was still frightened, intermittently. In September, a few weeks before he left for his first project in more than a year, Jude had woken again with a fever, and this time, he didn't ask Willem not to call Andy, and Willem didn't ask him for permission to do so. They had gone directly to Andy's office, and Andy had ordered X-rays, blood work, everything, and they had waited there, each of them lying on the bed in a different examining room, until the radiologist had called and said that there was no sign of any bone infection, and the lab had called and said that there was nothing wrong.

"Rhinopharyngitis," Andy had said to them, smiling. "The common cold." But he had rested his hand on the back of Jude's head, and they had all been relieved. How fast, how distressingly fast, had their instinct for fear been reawakened, the fear itself a virus that lay dormant but that they would never be able to permanently dispel. Joyfulness, abandon: they had had to relearn those, they had had to re-earn them. But they would never have to relearn fear; it would live within the three of them, a shared disease, a shimmery strand that had woven itself through their DNA.

And so off he went to Spain, to Galicia, to film. For as long as he had known him, Jude had wanted to someday walk the Camino de Santiago, the medieval pilgrimage route that ended in Galicia. "We'll start at the Aspe Pass in the Pyrenees," Jude had said (this was before either of them had ever even been to France), "and we'll walk west. It'll take weeks! Every night we'll stay in these communal pilgrim hostels I've read about and we'll survive on black bread with caraway seeds and yogurt and cucumbers."

"I don't know," he said, although back then he had thought less of Jude's limitations-he was too young at the time, they both were, to truly believe that Jude might have limitations-and more of himself. "That sounds kind of exhausting, Judy."

"Then I'll carry you," Jude had said promptly, and Willem had smiled. "Or we'll get a donkey, and he'll carry you. But really, Willem, the point is to walk the road, not ride it."

As they grew older, as it became clearer and clearer that this dream of Jude's would forever remain simply that, their fantasies of the Camino became more elaborate. "Here's the pitch," Jude would say. "Four strangers-a Chinese Daoist nun coming to terms with her sexuality; a recently released British convict who writes poetry; a Kazakhstani former arms dealer grieving his wife's death; and a handsome and sensitive but troubled American college dropout-that's you, Willem-meet along the Camino and develop friendships of a lifetime. You'll shoot in real time, so the shoot will only last as long as the walk does. And you'll have to walk the entire time."

By this time, he would always be laughing. "What happens in the end?" he asked.

"The Daoist nun ends up falling in love with an exIsraeli Army officer she meets along the way, and the two of them return to Tel Aviv to open a lesbian bar called Radclyffe's. The convict and the arms dealer end up together. And your character will meet some virginal but, it turns out, secretly slutty Swedish girl along the route and open a high-end B&B in the Pyrenees, and every year, the original group will gather there for a reunion."

"What's the movie called?" he asked, grinning.

Jude thought. "Santiago Blues," he said, and Willem laughed again.

Ever since, they had referred in passing to Santiago Blues, whose cast morphed to accommodate him as he grew older, but whose premise and location never did. "How's the script?" Jude would ask him whenever something new came in, and he would sigh. "Okay," he would say. "Not Santiago Blues good, but okay."

And then, shortly after that pivotal Thanksgiving, Kit, whom Willem had at one point told of his and Jude's interest in the Camino, had sent him a script with a note that read only "Santiago Blues!" And while it wasn't exactly Santiago Blues-thank god, he and Jude agreed, it was far better-it was in fact set on the Camino, it would in fact be shot partly in real time, and it did in fact begin in the Pyrenees, at Saint-Jean-Pied-de-Port, and ended in Santiago de Compostela. The Stars Over St. James followed two men, both named Paul, both of whom would be played by the same actor: the first was a sixteenth-century French monk traveling the route from Wittenberg on the eve of the Protestant Reformation; the second was a contemporary-day pastor from a small American town who was beginning to question his own faith. Aside from a few minor characters, who would drift in and out of the two Pauls' lives, his would be the only role.

He gave Jude the script to read, and after he finished, Jude had sighed. "Brilliant," he said, sadly. "I wish I could come on this with you, Willem."

"I wish you could, too," he said, quietly. He wished Jude had easier dreams for himself, dreams he could accomplish, dreams Willem could help him accomplish. But Jude's dreams were always about movement: they were about walking impossible distances or traversing impossible terrains. And although he could walk now, and although he felt less of it than Willem could remember him feeling for years, he would, they knew, never live a life without pain. The impossible would remain the impossible.

He had dinner with the Spanish director, Emanuel, who was young but already highly acclaimed and who, despite the complexity and melancholy of his script, was buoyant and bright, and kept repeating his astonishment that he, Willem, was going to be in his film, that it was his dream to work with him. He, in turn, told Emanuel of Santiago Blues (Emanuel had laughed when Willem described the plot. "Not bad!" he said, and Willem had laughed, too. "It's supposed to be bad!" he corrected Emanuel). He told him about how Jude had always wanted to walk this path; how humbled he was that he would get to do it for him.

"Ah," Emanuel said, teasingly. "I think this is the man for whom you ruined your career, am I right?"