Part 28 (1/2)

Stevie is fit, tall, dressed to kill, and he's given the audience what they want: Elvis at his best, Elvis in his heyday and all of this before he even sings a note.

I find I am on my feet cheering and clapping, I only notice when I realize my hands are stinging.

Stevie starts with 'Jailhouse Rock'. It is impossible to resist from the moment the first distinctive lines and chords slam on to the stage. He howls the intricate and complex lyrics with exuberance and sincerity. He is on his toes, moving with confidence and rhythm, flinging his body around the stage in exactly the way Elvis did. When did Stevie become so good? He's far better than I remembered or imagined. Like the King himself, he gets the crowd hot and bothered and young and old alike swoon. His foray into the audience is the best-received segment of the night so far.

He closes the song to riotous applause pounding up to the chandeliers.

Stevie pauses to wipe his face on the silk scarf he's wearing round his neck and gives it to a middle-aged woman, a la the King himself. The old girl looks like she might explode with glee now that she is wrapped in his sweat.

I wonder what he'll perform next. The entire room is waiting with bated breath: it's almost possible to see, taste and smell the antic.i.p.ation.

Are you lonesome tonight? The question bounces from Stevie's lips and squarely hits his target the hearts of every single member of the audience. Even the tiny minority of eternally confident, supremely content individuals who had never missed a soul or regretted drifting apart from any lover felt they were being directly besieged by his intense tenderness. The song effectively demonstrates his versatility. He isn't an Elvis tribute act that can do either rock 'n' roll, or ballads: he has the talent to tackle both.

Stevie's deep-voiced narration in the middle of the song is a confident move. It's a brave tribute act that relies on nothing but his voice; no fancy moves, no whizzy lyrics, no distractions at all, just a simple riff, delivered with almost painful sincerity and yet Stevie does it. Stevie pulls it off.

Everyone in the room believes that Elvis is singing to them: I know that Stevie is singing to me. It's our song. Well, as good as. All the lyrics are scarily pertinent. Stevie is appealing to me, the woman who strangely changed and left him surrounded by a perpetual emptiness. I hear him. I hear the pain of eight years' confusion, heartache and misery, which I caused. The whole room hears it because when Stevie finishes, the applause and stamping of feet, the standing ovation and the delirious screams for more almost bring the roof down.

'He's excellent! Easily the best!' exclaims Philip, confidently. He's on his feet, beaming and clapping.

'Do you think?' Laura is wiping away tears of joy that are squeezing out of her eyes and running down her face. 'I agree. He's gold,' she laughs in a rare moment of absolute certainty that her opinions stand solid. She's clapping so rapidly her hands are a blur.

'You can tell he was brought up to do this,' I enthuse. 'His mum would be so proud. All those years of practice. When Stevie was as young as eight his mum dressed him up in the suits and stuff and took him to compet.i.tions.' I beam and the smile is so wide it hurts my cheek muscles. Laura nods, I'm not telling her anything new.

Phil stares at me, 'How do you know that?'

'He told me,' I answer without skipping a beat. I'm not lying but I was careless. This moment of jubilation and triumph has made me let my guard down. How stupid of me. How careless! I stare at the stage, not daring to turn back to Phil because I know he is watching me, very, very carefully, and I'm terrified of what he might see.

42. I'll Remember You.

Stevie.

I actually feel quite sorry for the guy who has to go on stage after me. The audience doesn't want to know. They only want me. I have them eating out of my hand. I know that sounds really big-headed and I try not to look too c.o.c.ky when I'm backstage but it must be pretty clear to everyone that there hasn't been a better performance tonight. I have never given a better performance in my life.

Belinda came.

She risked everyone finding out that she is a bigamist to watch me perform tonight. What does that mean? It has to be good, doesn't it? a.s.suming Belinda wanting me is good. It has to mean something. It has to mean we mean something. Today she begged me to throw the compet.i.tion but I could not do that, not even for her; I had to go ahead and it was the right decision. Tomorrow, if I perform as well, the t.i.tle will be mine. After all these years, some things will be put straight.

I join Laura, Belinda and Philip front of house. It takes ages to walk the fifty or so yards to their table, because everyone wants a piece of me. People ask for autographs, reach out to touch me, women jump around me and plant quick pecks on my face and hands it's surreal.

When I reach the table, Laura falls on me and hugs me tightly. Bella smiles shyly over her shoulder. Her straight hair and smart clothes don't fool me: I can see Belinda McDonnel's unsophisticated delight s.h.i.+ning through. I bask in it. Phil, a true gent, has bought a bottle of champagne and Laura has bought a bottle of water. She smiles and tells me that she doesn't want me hungover tomorrow.

'You were brilliant tonight,' says Belinda, as we all settle into our chairs.

'Thank you.' I meet her eye, glug a large gla.s.s of water and then sip some champagne. I'm really only drinking it to be polite. It feels weird drinking the guy's champagne when I'm married to his wife and feeling ambivalent about it. I mean he's a good bloke under any other circ.u.mstances we might have become mates.

'If you can be half as good tomorrow you'll walk it,' says Belinda. She's actually giggling. She's genuinely enthusiastic. I'd begun to doubt I would ever see the day.

'Well, it's never over until it's over. Nothing in life is a certainty,' I caution. I'm nervous with her a.s.sumption that the compet.i.tion is in the bag, even though I've had the same thought. I have a good chance, I know that, but Belinda of all people must know that you can't predict anything in life.

'You'll win, I know you will,' says Laura leaning in to kiss me. Awkwardly, I s.h.i.+ft my face so that her kiss falls on my cheek. It's not that I don't want to kiss Laura. She's gorgeous and any man in his right mind would want to kiss her. It's just that I feel distinctly caddish kissing her in front of Belinda. I feel the full weight of the deceit I'm practising. It's crippling.

I turn to Laura and say, 'Babe, you know what? I need an early night.' She grins a.s.suming not unreasonably but still inaccurately that I'm feeling frisky. I mean I need sleep.

'Well, if you're sure you don't want to stay and watch the compet.i.tion.'

'I'm sure.'

'I'll get my wrap.' Laura leaps up and dashes off to the cloakroom. Philip mutters something about needing a pee and exits the table in the same instant, leaving Belinda and me, face-to-face, and alone.

'I've never seen it before, your talent. I think I've refused to see it but you were right to perform tonight,' she says.

Even after the rapturous and universal applause, her praise is possibly the most flattering thing I've ever heard. It's certainly the most coveted.

'Good choice of tunes. Brave and different.' She takes a deep breath. 'Stevie, I know what you were saying but-'

'What I was saying?' She's lost me.

She takes a quick look over her shoulder, scouring for Laura and Phil, neither of them is in sight. Bella recognizes that we have only s.n.a.t.c.hed moments and decides to be bold.

'I'm very flattered that you sang to me, Stevie. It means a lot, whatever happens.'

'I have no idea what you are talking about,' I state flatly.

'”Are You Lonesome Tonight?” It was for me, wasn't it?'

Awkward pause. I can see why she might think that. The lyrics, I guess, could be interpreted as pertinent to our situation but I chose my songs months ago, way before Belinda re-entered my life. I run through the lyrics in my head. Oh G.o.d, I can be stupendously thick sometimes. The song is all about a woman who ups and offs without any reasonable explanation. The singer this bit is really mortifying pleads to her through a series of questions clearly articulating his pain and longing. What was I thinking of? Not Belinda obviously. Which is a bit surprising, actually.

I could let it go. I could let Belinda think that my performance of a lifetime was inspired by her, but it wouldn't be fair. My performance of a lifetime occurred despite her. I've never lied to Belinda: it would be lunacy to start now when things are already so murky.

'I didn't choose that song with you in mind. I didn't choose it with anyone in mind,' I blurt.

'Oh.' Belinda physically pulls back from me, she looks startled. Hurt? 'I thought-'

'Years ago, you taught me not to be overly emotional about this business. You berated me for picking my numbers for sentimental reasons. I chose to sing those two particular tracks tonight because I knew they contrasted and complemented each other. They showcased my range. That's all.'

Belinda picks up her champagne gla.s.s and takes a sip. She's considering what I've just said. I study her face. It's almost impossible to read. Is that relief I see?

'Stevie, you must perform tomorrow. I meant what I said before, you'll win. I won't be there tomorrow. Somehow, and I'm not sure how yet, I'll persuade Philip that we don't need to attend the compet.i.tion. It's not going to be easy, he's a big fan of yours.' Belinda flashes me a quick grin as I try to digest what she is saying. 'We are unlikely to get as lucky again. Neil Curran will be sober for sure. His salary depends on it.'

I am stunned and saddened. Belinda thinks I'm great. She thinks I'm the best Elvis tribute act ever but it hasn't changed her mind. She doesn't want me. The disappointment is...

... not as devastating as it was eight years ago. I wait to feel the onslaught of pain. The b.l.o.o.d.y agony of being rejected, the relentless misery and confusion brought on by being deserted, but it doesn't happen.

I have to get this clear. 'Why did you come tonight?'