Lexus was juddering over a dirt road. I felt the forest pressing in on me. I saw it moving at the edge of my vision—I thought I saw it; I thought I saw it creeping up to the windows of the car. When I turned to look, the trees were still, but the spaces between the trees were so black that the darkness seemed almost a solid wall.
Once, deep in that darkness, I saw a figure—the figure of a little boy—standing amidst the trees, watching me go by.
When I looked ahead, the mist was everywhere, clinging to the pavement, to the windshield, to the air. The rain on the windshield made streaks on the glass.
Then I saw an old stone root cellar to my right—that was the landmark Emory had told me to look for. To my left, hidden in the bushes, a driveway wound down away from the road.
I turned the wheel. The Lexus came bouncing off the rutted dirt onto the smooth pavement of the driveway. Now the trees really did close in around me as the car descended into a narrow forested valley.
“I’m signing off,” I said.
“Go with God,” said Monahan.
I disconnected. I felt the solitude flutter down on me like a shroud.
I came around a long curve and the forest fell away. The driveway continued to descend over a great sweep of sloping lawn. The house was at the bottom of the hill. It was a vast place, a mansion. Three stories of red stone. Roofs, gables, chimneys—I counted four chimneys—and graceful balconies. White pillars holding up the porch roof. More pillars supporting a round conservatory or something off to the side. The newspapers next day said the place had been built in 1900 in the Colonial Revival style, whatever that means. To me, it just looked pompous and grand—and grandly secluded too, sitting down there at the bottom of the hill with the lights from the windows dying into the blackness of the woods on every side.
As I traveled the last few yards of the drive, I saw something that I would remember later. A light went out somewhere. A yellow glow went out on the lawn, right where the lawn met the base of the house. I hadn’t even noticed the light until it snapped off, and then I couldn’t see where it had come from. There was no window there. There was nothing. I would remember that.
I felt my throat go dry as I rolled up to the four-car garage on the right. My head seemed to expand painfully, then snap back into place painfully. I was nauseous and woozy and I cursed the drug.
The rain grew heavier. It pattered on the roof of the Lexus. The fog was encroaching on my vision again. I blinked it away but it kept returning. I switched off the engine and sat taking deep breaths. Finally, I popped the glove compartment and checked one last time that my Glock was there. Then I pushed open the door.
I had to concentrate hard to walk steadily over the wide slate path across the lawn to the front steps. The rain dampened my hair, rolled down my face. The rain felt thick to me; gelatinous.
I climbed heavily into the darkness of the porch—and as I did, the lights just behind the front door came on. The mist seemed to swirl away for a moment so that I knew it was only in my mind. I checked my watch. Nine exactly, right on time. I reached into my pocket. Pressed the button of the flashlight. Fifteen minutes.
Now the huge front door swung open. Emory stood there. He was dressed almost formally for him, wearing slacks and a turtleneck and a navy blazer. His bland face creased with a bland smile. He stepped back to let me enter.
“You seem surprised to see me,” he said. He closed the door.
“The house was so grand, I was expecting . . . you know . . .” He pretended not to understand. Stood with his head cocked in a question. “A butler, a maid or something,” I said.
He gave a strangely feminine little giggle. “On these special nights, I prefer to be alone.”
These special nights . He said the words in that way he had, wrinkling his nose, gleeful and wicked. Are we being naughty now? I wanted to
Dorothy Calimeris, Sondi Bruner