One Door From Heaven

declares.
        "You don't win points with girls," she admonishes, "by telling them they're sweaty."
        She speaks softly, and as she speaks, she glances toward the rear of the motor home.
        Being a boy who has been engaged in clandestine operations on more than one world, Curtis is quick on the uptake with clues like this, and he lowers his voice further. "I didn't mean sweat."
        "Then was it a rude reference to this?" she asks, patting her stainless-steel brace.
        Oh, Lord, he's put his foot in a cow pie again, metaphorically speaking. Recently, he'd begun to think that he was getting pretty good at socializing, not as good as Gary Grant in virtually any Gary Gram movie, but better than, say, Jim Carrey in Dumb and Dumber or in The Grinch Who Stole Christmas. Now this.
        Striving to recover from this misstep, he assures her: "I'm not really a Gump."
        "I didn't think you were," she says, and smiles.
        The smile warms him, and it all but melts sister-become, who would go closer to the radiant girl, roll on her back, and put all four paws in the air as an expression of complete submission if shyness did not restrain her.
        When the girl's eyebrows lift and she looks past Curtis, he glances over his shoulder to see that Polly has come onto the steps behind him and, even though still one step below, is able to look over his head. She is no less formidable in appearance than she is lovely, even with her gun concealed. Her gas-flame eyes have gone ice-blue, and judging by the flintiness with which she surveys the interior of the motor home and then regards the girl, her time in Hollywood has either inspired in her a useful ruthlessness or has taught her how to act hard-assed with conviction.
        In the lounge wall opposite the girl's bed is a window, to which movement draws her and Curtis's attention. Cass has found something to stand upon outside, perhaps an overturned trash barrel or a picnic table, which she has dragged near the motor home. Her head is framed in that window, and like her sister, she looks as redoubtable as Clint Eastwood in a full go-ahead-make-my-day squint.
        "Wow," the girl exclaims softly, putting aside her journal and turning her attention to Curtis once more, "you travel with Amazons."
        "Just two," he says.
        "Who are you?"
        Because he can see the girl shine when he looks through the eyes of the perceptive dog, and because he knows what this radiance means, he decides that he must be as immediately straightforward with this person as, ultimately, he was with the twins. And thus he answers: "I'm being Curtis Hammond."
        "I'm being Leilani Klonk," she replies, swinging her braced leg like a counterweight that pulls her to a seated position on the edge of the sofabed. "How did you turn off the alarm and unlock the door, Curtis?"
        He shrugs. "Willpower over matter, on the micro level where will can prevail."
        "That's exactly how I'm growing breasts."
        "It's not working," he replies.
        "I think maybe it is. I was positively concave before. At least now I'm just flat. Why'd you come here?"
        "To change the world," Curtis says.
        Polly lays a warning hand upon his shoulder.
        "It's all right," he tells his royal guard.
        "To change the world," Leilani repeats, glancing again toward the back of the motor home before pushing off the bed to a standing position. "Have you had any luck so far?"
        "Well, I'm just starting, and it's a long job."
        With a rather different-looking hand, Leilani points to a happy face painted on the ceiling and then to hula dolls swiveling their hips on nearby tables. "You're changing the world starting here?"
        "According to my mother, all the truths of life and all the answers to its mysteries are present to be seen and understood in every incident in our lives, in every place, regardless of how grand or humble it may be."
        Again indicating the ceiling and the swiveling dolls, Leilani says, "And regardless of how tacky?"
        "My mother has wisdom to sustain us through any situation, crisis, or loss. But she never said anything about tackiness, pro or con."
        "Is this your mother?" Leilani asks, referring to Polly.
        "No. This is Polly, and never ask her if she wants a cracker. I've agreed to eat them for her. Looking in the window there is Cass. As for my mother… well,