Welcome to Brighton Hills: an exclusive, gated community set against the stunning backdrop of the Oregon coast. Home to doctors, lawyers, judges--all the most upstanding members of society. Nothing ever goes wrong here. Right?
Cora's husband, Finn, is a cheater. She knows it; she just needs to prove it. She's tired of being the nagging, suspicious wife who analyzes her husband's every move. She needs to catch him in the act. And what better way to do that than to set him up for a fall?
Paige has nothing to lose. After she lost her only child in a hit-and-run last year, her life fell apart: her marriage has imploded, she finds herself screaming at baristas and mail carriers, and she's so convinced Caleb's death wasn't an accident that she's secretly spying on all everyone in Brighton Hills so she can find the murderer. So it's easy for her to entrap Finn and prove what kind of man he really is.
But Paige and Cora are about to discover far more than a cheating husband. What starts as a little agreement between friends sets into motion a series of events neither of them could have ever predicted, and that exposes the deep fault lines in Brighton Hills. Especially concerning their mysterious new neighbor, Georgia, a beautiful recluse who has deep, dark secrets of her own...
Paige stands, watering her marigolds in the front yard and marvels at how ugly they are. The sweet-potato-orange flowers remind her of a couch from the 1970s, and she suddenly hates them. She crouches down, ready to rip them from their roots, wondering why she ever planted such an ugly thing next to her pristine Russian sage, and then the memory steals her breath. The church Mother’s Day picnic when Caleb was in the sixth grade. Some moron had let the potato salad sit too long in the sun, and Caleb got food poisoning. All the kids got to pick a flower plant to give to their moms, and even though Caleb was puking mayonnaise, he insisted on going over to pick his flower to give her. He was so proud to hand it to her in its little plastic pot, and she said they’d plant it in the yard and they’d always have his special marigolds to look at. How could she have forgotten?
She feels tears rise in her throat but swallows them down. Her dachshund, Christopher, waddles over and noses her arm: he always senses when she’s going to cry, which is almost all the time since Caleb died. She kisses his head and looks at her now-beautiful marigolds. She’s interrupted by the kid who de-livers the newspaper as he rides his bike into the cul-de-sac and tosses a rolled-up paper, hitting little Christopher on his back.
“Are you a fucking psychopath?” Paige screams, jumping to her feet and hurling the paper back at the kid, which hits him in the head and knocks him off his bike.
“What the hell is wrong with you, lady?” he yells back, scrambling to gather himself and pick up his bike.
“What’s wrong with me? You tried to kill my dog. Why don’t you watch what the fuck you’re doing?”
His face contorts, and he tries to pedal away, but Paige grabs the garden hose and sprays him down until he’s out of reach. “Little monster!” she yells after him.
Thirty minutes later, the police ring her doorbell, but Paige doesn’t answer. She sits in the back garden, drinking coffee out of a lopsided clay mug with the word Mom carved into it by little fingers. She strokes Christopher’s head and examines the ivy climbing up the brick of the garage and wonders if it’s bad for the foundation. When she hears the ring again, she hollers at them.
“I’m not getting up for you people. If you need to talk to me, I’m back here.” She enjoys making them squeeze around the side of the house and hopes they rub up against the poi-son oak on their way.
“Morning, Mrs. Moretti,” one of the officers says. It’s the girl cop, Hernandez. Then the white guy chimes in. She hates him. Miller. Of course they sent Miller with his creepy mustache. He looks more like a child molester than a cop, she thinks. How does anyone take him seriously?
“We received a complaint,” he says.
“Oh, ya did, did ya? You guys actually looking into cases these days? Actually following up on shit?” Paige says, still petting the dog and not looking at them.
“You assaulted a fifteen-year-old? Come on.”
“Oh, I did no such thing,” she snaps.
Hernandez sits across from Paige. “You wanna tell us what d id happen, then?”
“Are you planning on arresting me if I don’t?” she asks, and the two officers give each other a silent look she can’t read.
“His parents don’t want to press charges so…”
Paige doesn’t say anything. They don’t have to tell her it’s because they pity her.
“But, Paige,” Miller says, “we can’t keep coming out here for this sort of thing.”
“Good,” Paige says firmly. “Maybe it will free you up to do your real job and find out who killed my son.” Hernandez stands.
“Again, you know we aren’t the detectives on the—” But before Hernandez can finish, Paige interrupts, not wanting to hear the excuses.
“And maybe go charge the idiot kid for trying to kill my dog. How about that?”
Paige stands and goes inside, not waiting for a response. She hears them mumble something to one another and make their way out. She can’t restrain herself or force herself to be kind. She used to be kind, but now, it’s as though her brain has been rewired. Defensiveness inhabits the place where empathy used to live. The uniforms of the cops trigger her, too; it reminds her of that night, the red, flashing lights a nightmarish strobe from a movie scene. A horror movie, not real life. It can’t be her real life. She still can’t accept that.
The uniforms spoke, saying condescending things, pulling her away, calling her ma’am, and asking stupid questions. Now, when she sees them, it brings up regrets. She doesn’t know why this happens, but the uniforms bring her back to that night, and it makes her long for the chance to do all the things she never did with Caleb and mourn over the times they did have. It forces fragments of memories to materialize, like when he was six, he wanted a My Little Pony named Star Prancer. It was pink with purple flowers in its mane, and she didn’t let him have it because she thought she was protecting him from being made fun of at school. Now, the memory fills her with self-reproach.
She tries not to think about the time she fell asleep on the couch watching Rugrats with him when he was just a toddler and woke up to his screaming because he’d fallen off the couch and hit his head on the coffee table. He was okay, but it could have been worse. He could have put his finger in an outlet, pushed on the window screen and fallen to his death from the second floor, drunk the bleach under the sink! When this memory comes, she has to quickly stand up and busy herself, push out a heavy breath, and shake off the shame it brings. He could have died from her negligence that afternoon. She never told Grant. She told Cora once, who said every parent has a moment like that, it’s life. People fall asleep. But Paige has never forgiven herself. She loved Caleb more than life, and now the doubt and little moments of regret push into her thoughts and render her miserable and anxious all the time.
She didn’t stay home like Cora, she practically lived at the restaurant. She ran it for years. Caleb grew up doing his homework in the kitchen break room and helping wipe down tables and hand out menus. He seemed to love it. He didn’t watch TV all afternoon after school, he talked to new people, learned skills. But did she only tell herself that to alleviate the guilt? Would he have thrived more if he had had a more nor mal day-to-day? When he clung to her leg that first day of preschool, should she have forced him to go? Should he have let him change his college major so many times? Had he been happy? Had she done right by him?
And why was there a gun at the scene? Was he in trouble, and she didn’t know? Did he have friends she didn’t know about? He’d told her everything, she thought. They were close. Weren’t they?
As she approaches the kitchen window to put her mug down, she sees Grant pulling up outside. She can see him shaking his head at the sight of the cops before he even gets out of the car.
He doesn’t mention the police when he comes in. He silently pours himself a cup of coffee and finds Paige back out in the garden, where she has scurried to upon seeing him. He hands her a copy of the Times after removing the crossword puzzle for himself and then peers at it over his glasses.
He doesn’t speak until Christopher comes to greet him, and then he says, “Who wants a pocket cookie?” and takes a small dog biscuit from his shirt pocket and smiles down at little Christopher, who devours it.
This is how it’s been for the many months since Grant and Paige suffered insurmountable loss. It might be possible to get through it to the other side, but maybe not together, Paige said to Grant one night after one of many arguments about how they should cope. Grant wanted to sit in his old, leather recliner in the downstairs family room and stare into the wood-burning fireplace, Christopher at his feet, drinking a scotch and absorbing the quiet and stillness.
Paige, on the other hand, wanted to scream at everyone she met. She wanted to abuse the police for not finding who was responsible for the hit-and-run. She wanted to spend her days posting flyers offering a reward to anyone with information, even though she knew only eight percent of hit-and-runs are ever solved. When the world didn’t respond the way she needed, she stopped helping run the small restaurant they owned so she could just hole up at home and shout at Jeopardy! and paper boys. She needed to take up space and be loud. They each couldn’t stand how the other was mourning, so finally, Grant moved into the small apartment above their little Italian place, Moretti’s, and gave Paige the space she needed to take up.
Now—almost a year since the tragic day—Grant still comes over every Sunday to make sure the take-out boxes are picked up and the trash is taken out, that she’s taking care of herself and the house isn’t falling apart. And to kiss her on the cheek before he leaves and tell her he loves her. He doesn’t make observations or suggestions, just benign comments about the recent news headlines or the new baked mostaccioli special at the restaurant.
She sees him spot the pair of binoculars on the small table next to her Adirondack chair. She doesn’t need to lie and say she’s bird-watching or some nonsense. He knows she thinks one of the neighbors killed her son. She’s sure of it. It’s a gated community, and very few people come in and out who don’t live here. Especially that late at night. The entrance camera was conveniently disabled that night, so that makes her think it wasn’t an accident but planned. There was a gun next to Caleb’s body, but it wasn’t fired, and there was no gunshot wound. Something was very wrong with this scenario, and if the po-lice won’t prove homicide, she’s going to uncover which of her bastard neighbors had a motive.
She has repeated all of this to Grant a thousand times, and he used to implore her to try to focus on work or take a vacation—anything but obsess—and to warn her that she was destroying her health and their relationship, but he stopped responding to this sort of conspiracy-theory talk months ago.
“What’s the latest?” is all he asks, looking away from the binoculars and back to his crossword. She gives a dismissive wave of her hand, a sort of I know you don’t really want to hear about it gesture. Then, after a few moments, she says, “Danny Howell at 6758. He hasn’t driven his Mercedes in months.” She gives Grant a triumphant look, but he doesn’t appear to be following.
“Okay,” he says, filling in the word ostrich.
“So I broke into his garage to see what the deal was, and there’s a dent in his bumper.”
“You broke in?” he asks, concerned. She knows the How-ells have five vehicles, and the dent could be from a myriad of causes over the last year, but she won’t let it go.
“Yes, and it’s a good thing I did. I’m gonna go back and take photos. See if the police can tell if it looks like he might have hit a person.” She knows there is a sad desperation in her voice as she works herself up. “You think they can tell that? Like if the dent were a pole from a drive-through, they could see paint or the scratches or something, right? I bet they can tell.”
“It’s worth a shot,” he says, and she knows what he wants to say, also knows he won’t waste words telling her not to break into the garage a second time for photos. He changes the subject.
“I’m looking for someone to help out at the restaurant a few days a week—mostly just a piano player for the dinner crowd—but I could use a little bookkeeping and scheduling, too,” he says, and Paige knows it’s a soft attempt to distract her, but she doesn’t bite.
“Oh, well, good luck. I hope you find someone,” she says, and they stare off into the backyard trees.
“The ivy is looking robust,” he comments after a few minutes of silence.
“You think it’s hurting the foundation?” she asks.
“Nah,” he says, and he reaches over and places his hand over hers on the arm of her chair for a few moments before getting up to go. On his way out, he kisses her on the cheek, tells her he loves her. Then he loads the dishwasher and takes out the trash before heading to his car. She watches him reluctantly leaving, knowing that he wishes he could stay, that things were different.
When Paige hears the sound of Grant’s motor fade as he turns out of the front gate, she imagines herself calling him on his cell and telling him to come back and pick her up, that she’ll come to Moretti’s with him and do all the scheduling and books, that she’ll learn to play the piano just so she can make him happy. And, after all the patrons leave for the night, they’ll share bottles of Chianti on checkered tablecloths in a dimly lit back booth. They’ll eat linguini and clams and have a Lady and the Tramp moment, and they will be happy again.
Paige does not do this. She goes into the living room and closes the drapes Grant opened, blocking out the sunlight, then she crawls under a bunched-up duvet on the couch that smells like sour milk, and she begs for sleep.
Excerpted from On A Quiet Street by Seraphina Nova Glass, Copyright © 2022 by Seraphina Nova Glass. Published by arrangement with Harlequin Books S.A.
is a professor and playwright-in-residence at the University of Texas, Arlington, where she teaches film studies and playwriting. She holds an MFA in playwriting from Smith College, and she's also a screenwriter and award-winning playwright. Seraphina has traveled the world using theatre and film as a teaching tool, living in South Africa, Guam and Kenya as a volunteer teacher, AIDS relief worker, and documentary filmmaker.