The Moonlit Mind: A Tale of Suspense

Over the chanting and the music, Crispin hears a more intimate noise, a buzzing. A few feet above his head, a serpentine stream of fat horseflies winds out across the celebrants. These must be their marks, birthmarks, tattoos, whatever, once just silhouettes on their skin but now become real for the duration of the ceremony, swarming. He suspects that if one of the flies chooses to settle upon him, he will be lost.

As the chanting of the standing members of the congregation reaches a higher pitch, Crispin looks back toward Harley in chains. The raised dagger in Jardena’s hand has a serpentine blade across which candlelight flows like a liquid.

Crispin is just a boy, a small boy with weaknesses of character, which have been encouraged since he came to live in Theron Hall. He is a boy whose formation is incomplete, whose heart is still a work in progress. He is a boy without the substance to be a warrior, and he is too late. The dagger plunges, and Crispin flees, runs from the horseflies and from the magnetic eyes of Nanny Sayo before she can turn them on him, runs from all responsibility for his brother, but also — as he will realize only years later — he runs from what calls to him seductively, from what he might have been if his weaknesses had run deeper or been worse.

Breathing hard and raggedly, he finds himself in the foyer, without the knife but with the book, A Year of Saints, on the cover of which is a different portrait of Saint Michael, not in the company of Gabriel and Raphael this time, as in the interior illustration, but alone and fierce.

Crispin pulls open the door and is confronted by the policeman who can be everywhere at once. “Useless little coward,” the hulking cop declares, and he swings the billy club, which shatters when it strikes the image of Saint Michael on the cover of the book.

The boy dodges as the policeman reaches for him, and he races away from the house. He sprints across the sidewalk, springs off the curb and into traffic.

On the farther side of Shadow Street stands the Pendleton, bigger even than Theron Hall, once a mansion for a single family, now an apartment building. He knows no one in the Pendleton. The place does not look welcoming, looks in fact like another kind of terror waiting to entrap him.

Brakes shriek and car horns trumpet like prehistoric beasts, vehicles swerve around him with only inches to spare, but Crispin doesn’t care what happens to him anymore. He runs the center of the avenue, down Shadow Hill, taillights to one side and headlights to the other, and the sea of lights that is the city seems to rise like an incoming tide to meet him.

One street becomes another, another, another. Alleyways entice, and in one of them a man who smells of stale sweat and whiskey grabs him—“Whoa there, Huck Finn, you got something for me?”—but Crispin wrenches free.

He runs, runs until his chest aches, until his throat is raw from breathing through his mouth. When at last he halts, he is standing on the sidewalk at an entrance to St. Mary Salome Cemetery.

Although he does not remember dropping it, the book with Saint Michael on the cover is gone. He has no recollection of digging the rumpled bills from his pocket, either, but clutched in his right hand are the two fives and the single that he took from the petty-cash envelope on the butler’s desk.

So much of such devastating import has happened in the past hour that Crispin shouldn’t be able to unravel a complex thought from his mental and emotional mare’s nest. But as he regards the money in his hand, he realizes that the moment he took it, he knew that he would not die to save his brother, that in the end he would cut and run. This was his getaway money, a pathetic little stash to tide him over during his first day or two on the streets. He could have taken the entire sixty-one dollars, but he would have known right then that he had no intention of heroic action. He prided himself on taking only eleven, on not being a thief, to distract himself from the truth of his cowardice. He went into the basement not to find and save his little brother, not really, but instead because the secret of the room behind the steel door was alluring, as alluring as the luxury of Theron Hall, as tempting as a life of leisure, as seductive as Nanny Sayo.

He begins to weep and then to sob uncontrollably for Mirabell and for Harley, but also for himself, for what is lost as much as for who is lost. He tries to throw down the money, but his hand has intentions of its own, cramming the bills into his pocket once more. He cannot run from the money because it is part of him now, and he can’t run from himself, no one can, but he tries.

He races into the cemetery, weaving among the headstones, which in the moonlight appear to be carved of ice. He wishes this were as simple as a creepy comic book, wishes someone long buried would erupt from the ground, judge him with a few harsh words, seize him, pull him down, and bring him to his end. But the dead want nothing to do with him, they will not rise for him, neither will they speak.

At last, at the center of the cemetery, having passed through the arrangement of mausoleum walls where ashes rather than bodies are interred, in the center of the circular lawn, he clambers onto the circular mass of granite that serves as a bench, and lies on his back.

No slightest susurration of the city reaches here. His labored breathing and his sobbing are the only sounds. He cries himself to silence among these memorials to lost souls.

He thinks that he will never sleep again, that he is too wicked to deserve sleep. He lies on his back, staring at the moon, and the cratered face of the old man in the moon seems to stare back at him. The night sky grows deeper. The earlier stars call forth others. He sleeps.

17

Hard years of change, now Crispin thirteen, no longer quite a boy, not yet a man …

Good dog Harley sits on the booth bench beside Amity Onawa, as if the part of the story that the girl likes best is also the most appealing part to him. His eyes twinkle in the candlelight.

“Harley takes his paw off the empty box,” Crispin continues, “and I put the cards away. I’m able to get back to sleep for a while, with no bad dreams. In the morning, I expect to go upstairs to the magic-and-game shop before the start of the business day. I should be able to unlock the front door from inside, and if I can’t, me and Harley will wait until the old man and woman open the place, then we’ll dash out past them, no explanations.”

“Sounds easy,” Amity says, and smiles again.

“Totally easy. Except when we go upstairs from the basement storeroom, there isn’t any magic shop like there was the night before. The store is empty, bare, no business there of any kind.”

“No old man with green eyes and six emerald rings.”

“No one, nothing,” Crispin confirms. “Hasn’t been anything happening there for a long time, judging by the dust and cobwebs.”

“But the storeroom …”

“I go back down the stairs. Harley doesn’t bother coming with me, as if he already knows what I’ll find. Which is nothing. All the shelves and all the stock on them are gone. The storeroom is as empty as the store above it.”

“This is two days after you ran away from Theron Hall.”

“Two days but the third night. After everything that happened in Theron Hall, maybe I should have been scared half to death by the magic shop disappearing, but I wasn’t.”

She stares at him unblinking. He does not look away from her, because this is the hardest part for him to tell, and it means more if he can tell it eye to eye.

“I was able to unlock the door from inside, and we closed it behind us as we went. The day was warm for early October, the sky so blue, and birds singing in the streetside trees. I looked back at the shop and saw a FOR RENT sign taped to the inside of the door glass. At the bottom was a phone number and a Realtor’s contact name. The name was Miss Regina Angelorum. I was too young then to know that it was a name but also more than a name. Years would pass before I knew what it meant, but right then, at the start of my third day free of Theron Hall, I was certain that in spite of my many weaknesses, in spite of my cowardice and my failure to save Mirabell or Harley, I was meant to live, to grow and change, and to accomplish something in this world that mattered.”

They are silent together in the candlelight.

Amity’s eyes are worlds of mystery, as Crispin imagines his eyes must be to her.