By the Light of the Moon

'We'll get cake soon.'

'Cake?'

'Peanuts, Shep, and you know what peanuts are like – all round and shapey and disgusting. Here, look.' He took the bag of nuts from Jilly, intending to hold them in front of Shepherd's face, but the psychic spoor on the cellophane packet, under the pleasant trace left by Jilly, was still fresh enough to bring into his mind an image of Proctor's dreamy, evil smile. The smile came to him, but much more: an electrical, crackling, pandemoniacal, whirling shadow show of images and impressions.

He didn't realize he'd gotten up from the rock bench until he was on his feet and moving away from Jilly and Shep. He halted, swung toward them, and said, 'Lake Tahoe.'

'Nevada?' Jilly asked.

'Yeah. No. That Lake Tahoe, yes, but the north shore, on the California side.'

'What about it?'

Every nerve in his body seemed to be twitching. He had been seized by an irresistible compulsion to get moving. 'We've got to go there.'

'Why?'

'Right now.'

'Why?'

'I don't know. But it's the right thing to do.'

'Damn, that makes me nervous.'

He returned to Jilly, drew her to her feet, and placed her uninjured hand over the hand in which he held the bag of peanuts. 'Can you feel it, what I feel, where it is?'

'Where what is?'

'The house. I see a house. This sort of Frank Lloyd Wright place overlooking the lake. Dramatic floating roofs, stacked-stone walls, lots of big windows. Nestled in among huge old pine trees. Do you feel where it is?'

'That's not my talent, it's yours,' she reminded him.

'You learned how to fold.'

'Yeah, started to learn, but I haven't learned this,' she said, withdrawing her hand.

Shepherd had risen from the rock bench. He put his right hand on the bag of peanuts, on Dylan's hand. 'House.'

'Yes, a house,' Dylan replied impatiently, his compulsion to act growing more powerful by the second. He danced from foot to foot like a child overcome by an urgent need to go to the bathroom. 'I see a house.'

'I see a house,' said Shep.

'I see a big house overlooking the lake.'

'I see a big house overlooking the lake,' said Shep.

'What're you doing, buddy?'

Instead of repeating What are you doing, buddy, as Dylan expected, the kid said, 'I see a big house overlooking the lake.'

'Huh? You see a house? You see it, too?'

'Cake?'

'Peanuts, Shep, peanuts.'

'Cake?'

'You've got your hand on it, you're looking right at it, Shep. You can see it's a bag of peanuts.'

'Tahoe cake?'

'Oh. Yeah, maybe. They probably have cake at this place in Tahoe. Lots of cake. All kinds of cake. Chocolate cake, lemon cake, spice cake, carrot cake-'

'Shep doesn't like carrot cake.'

'No, I didn't mean that, I was wrong about that, they don't have any carrot cake, Shep, just every other kind of friggin' cake in the world.'

'Cake,' said Shepherd, and the New Mexico desert folded away as a cool green place folded toward them.

46

Great pines, both conical and spreading varieties, many standing over two hundred feet tall, built sublimely scented palaces on the slopes around the lake, green rooms of perpetual Christmas ornamented with cones as small as apricots and others as large as pineapples.

The famous lake, seen through felicitous frames of time-worked branches, fulfilled its reputation as the most colorful body of water in the world. From a central depth greater than fifteen hundred feet to shoreline shallows, it shimmered iridescently in countless shades of green, blue, and purple.

Folding from the magnificent barrenness of the desert to the glory of Tahoe, Jilly exhaled the possibility of scorpions and cactus moths, inhaled air stirred by butterflies and by brown darting birds.

Shepherd had conveyed them to a flagstone footpath that wound through the forest, through a softness of feathery pine shadows and woodland ferns. At the end of the path stood the house: Wrightian, stone and silvered cedar, enormous yet in exquisite harmony with its natural setting, featuring deeply cantilevered roofs and many tall windows.

'I know this house,' Jilly said.

'You've been here?'

'No. Never. But I've seen pictures of it somewhere. Probably in a magazine.'

'It's definitely an Architectural Digest sort of place.'

Broad flagstone steps led up to an entry terrace overhung by a cedar-soffited, cantilevered roof.

Ascending to the terrace between Dylan and Shepherd, Jilly said, 'This place is connected to Lincoln Proctor?'

'Yeah. I don't know how, but from the spoor, I know he was here at least once, maybe more than once, and it was an important place to him.'

'Could it be his house?'

Dylan shook his head. 'I don't think so.'

The front door and flanking sidelights doubled as sculpture: an Art Deco geometric masterpiece half bronze and half stained glass.

'What if it's a trap?' she worried.

'No one knows we're coming. It can't be a trap. Besides… it doesn't feel that way.'

'Maybe we should run a little surveillance on the joint for a while, watch it from the trees, till we see who comes and goes.'

'My instinct says go for it. Hell, I don't have a choice. The compulsion to keep moving is like… a thousand hands shoving on my back. I've got to ring that doorbell.'

He rang it.

Although Jilly considered sprinting away through the trees, she remained at Dylan's side. She in her changefulness no longer had any refuge in the ordinary world where she could claim to belong, and her only place, if she indeed had one at all, must be with the O'Conner brothers, as their only place must be now with her.

The man who opened the door was tall, handsome, with prematurely snow-white hair and extraordinary gray eyes the shade of tarnished silver. Those piercing eyes surely had the capacity to appear steely and intimidating, but at the moment, they were as warm and as without threat as the gray skeins of a gentle spring rain.

His voice, which Jilly had always assumed must be electronically enhanced during his broadcasts, possessed precisely the reverberant timbre and the smoky quality familiar from radio, and was instantly recognizable. Parish Lantern said, 'Jillian, Dylan, Shepherd, I've been expecting you. Please come in. My house is your house.'

Apparently as stunned as Jilly, Dylan said, 'You? I mean… really? You?'