elaborately decorated as any baroque drawing room in a French castle, as nurturingly serene as any meditation point in a Zen garden. She never sleeps fitfully but always as deep and still as a stone at the bottom of the sea, so you find yourself reaching out to touch her, to feel the warmth of her skin or the throb of her pulse, to quiet the sudden fear for her that grips you from time to time. As with so many things, she has a passion for sleep. She has a passion for passion, too, and when she makes love to you, the room ceases to exist, and you’re in a timeless time and a placeless place, where there’s only Sasha, only the light and the heat of her, the glorious light of her that blazes but doesn’t burn.
As I passed the foot of the bed, heading toward the first of three windows to close the blinds, I saw an object on the chenille spread. It was small, irregular, and highly polished: a fragment of hand-painted, glazed china. Half a smiling mouth, a curve of cheek, one blue eye. A shard from the face of the Christopher Snow doll that had shattered against the wall in Angela Ferryman’s house just before the lights had gone out and the smoke had poured into the stairwell from above and below.
At least one of the troop had been here during the night.
Shaking again but with fury rather than fear this time, I ripped the pistol out of my jacket and set out to search the house, from the attic down, every room, every closet, every cupboard, every smallest space in which one of these hateful creatures might be able to conceal itself. I wasn’t stealthy or cautious. Cursing, making threats that I had every intention of fulfilling, I tore open doors, slammed drawers shut, poked under furniture with a broom handle. In general I created such a racket that Orson sprinted to my side with the expectation of finding me in a battle for my life — then followed me at a cautious distance, as if he feared that, in my current state of agitation, I might shoot myself in the foot and him in the paw if he stayed too close.
None of the troop was in the house.
When I concluded the search, I had the urge to fill a pail with strong ammonia water and sponge off every surface that the intruder — or intruders — might have touched: walls, floor, stair treads and railings, furniture. Not because I believed that they’d left behind any microorganisms that could infect us. Rather, because I found them to be unclean in a profoundly spiritual sense, as though they had come not out of laboratories at Wyvern but out of a vent in the earth from which also rose sulfur fumes, a terrible light, and the distant cries of the damned.
Instead of going for the ammonia, I used the kitchen phone to call the direct booth line at KBAY. Before I entered the last number, I realized that Sasha was off the air and already on her way home. I hung up and keyed in her mobile number.
“Hey, Snowman,” she said.
“Where are you?”
“Five minutes away.”
“Are your doors locked?”
“What?”
She hesitated. Then: “They are now.”
“Don’t stop for anyone. Not anyone. Not for a friend, not even for a cop. Especially not for a cop.”
“What if I accidentally run down a little old lady?”
“She won’t be a little old lady. She’ll only look like one.”
“You’ve suddenly gotten spooky, Snowman.”
“Not me. The rest of the world. Listen, I want you to stay on the phone until you’re in the driveway.”
“Explorer to control tower: The fog’s pulling back already. You don’t need to talk me in.”
“I’m not talking you in. You’re talking me
“I sorta noticed.”
“I need to hear your voice. All the way. All the way home, your voice.”
“Smooth as the bay,” she said, trying to get me to lighten up.
I kept her on the phone until she drove her truck into the carport and switched off the engine.
Sun or no sun, I wanted to go outside and meet her as she opened the driver’s door. I wanted to be at her side with the Glock in my hand as she walked across the house to the rear porch, which was the entrance that she always used.
An hour seemed to pass before I heard her footsteps on the back porch, as she walked between the tables of potted herbs.
When she swung open the door, I was standing in the wide blade of morning light that slashed into the kitchen. I pulled her into my arms, slammed the door behind her, and held her so tightly that for a moment neither of us could breathe. I kissed her then, and she was warm and real, real and glorious, glorious and alive.
No matter how tightly I held her, however, no matter how sweet her kisses, I was still haunted by that presentiment of worse losses to come.
SIX. THE DAY AND THE NIGHT
32
With all that had happened during the previous night and with all that loomed in the night to come, I didn’t imagine that we would make love. Sasha couldn’t imagine
Orson, ever a gentleman, remained downstairs in the kitchen. We went upstairs to the bedroom and from there into the timeless time and placeless place where Sasha is the only energy, the only form of matter, the only force in the universe. So bright.
Afterward, in a mood that made even the most apocalyptic news seem tolerable, I told her about my night from sundown until dawn, about the millennium monkeys and Stevenson, about how Moonlight Bay was now a Pandora’s box swarming with myriad evils.
If she thought I was insane, she hid her judgment well. When I told her of the taunting by the troop, which Orson and I had endured after leaving Bobby’s house, she broke out in gooseflesh and had to pull on a robe. As she gradually realized fully how dire our situation was, that we had no one to whom we could turn and nowhere to run even if we were allowed to leave town, that we might already be tainted by this Wyvern plague, with effects to come that we could not even imagine, she pulled the collar of the robe tighter around her neck.
If she was repulsed by what I’d done to Stevenson, she managed to suppress her emotions with remarkable success, because when I was finished, when I had told her about even the fragment of the doll’s face that I’d found on her bed, she slipped out of her robe and, although still stippled with gooseflesh, brought me into her light again.
This time, when we made love, we were quieter than before, moved more slowly, more gently than we had the first time. Although tender before, the motion and the act were more tender now. We clung to each other with love and need but also with desperation, because a new and poignant appreciation of our isolation was upon us. Strangely, though we shared a sense of being two condemned people with an executioner’s clock ticking relentlessly, our fusion was sweeter than it had been previously.
Or maybe that isn’t strange at all. Perhaps extreme danger strips us of all pretenses, all ambitions, all confusions, focusing us more intensely than we are otherwise ever focused, so that we remember what we otherwise spend most of our lives forgetting: that our nature and purpose is, more than anything else, to love and to make love, to take joy from the beauty of the world, to live with an awareness that the future is not as real a place for any one of us as are the present and the past.
If the world as we knew it was this minute being flushed away, then my writing and Sasha’s songwriting didn’t matter. To paraphrase Bogart to Bergman: In this crazy future tumbling like an avalanche straight at us, the ambitions of two people didn’t amount to a hill of beans. All that mattered was friendship, love, and surf. The
