The Quiet Game

Sometimes my dreams are linear, like movies, other times disconnected, like fragments of film snatched at random from an editing room floor. As Annie breathes steadily beside me, fatigue deadens the signals flashing through my brain, the anxiety about meeting Presley, the delicious prospect of revenge on Leo Marston. Consciousness tries to hold me with the terrifying jerk of a perceived fall, but I catch myself. Soon the darkness above me tunnels into light, and I see the silver surface of a pool surrounded by lush ferns and massive cypress trees. The wind-rippled surface slowly stills to glass, opening the water to my gaze. There are plants below the surface, green fronds reaching up from unknown depths, gently waving in an invisible current. Among the fronds something moves, pale against the green. A person. A woman. She turns lazily, gracefully among the water plants, like a swimmer synchronized to unheard music. Her hair floats around her head in a bright corona, obscuring what must be extraordinary beauty. Ceasing her languid motion, she lifts her arms and pulls toward the surface. I recall the Lady of the Lake, who gave Excalibur to Arthur. This woman is like that. She has something to give me. But even as she fights her way to the surface, she somehow recedes, like reality rewinding. I reach down to help her, but I am far too high. Slowly the storm of hair parts and reveals her face, and she opens her mouth to speak. I cannot hear her words, but her face nearly stops my heart. Something pure and cold courses through me as the translucent eyes seek mine in mute desperation. That face once haunted me like an inner shadow, a secret sharer watching, judging, holding me in thrall until at last the light of Sarah and Annie shone into the hidden chambers of my heart, and it receded into memory. Receded but did not die. Once, long ago, that face taught me what it was to be alive.

That face…

Olivia Marston.

CHAPTER 13

Driving through rural Mississippi with a hundred thousand dollars' cash in your trunk can make you nervous. Ray Presley's trailer is fourteen miles north of town, situated between Emerald Mound and the tiny rural community of Church Hill. The second-highest ceremonial mound in North America, Emerald Mound rises from the forest like a Mayan temple of earth. When I was a boy, we sledded down its great slope on pizza pans, on those biannual occasions when Natchez got its inch of snow. As teenagers we gathered there to watch the sun rise while we drank beer and cheap wine and howled over the treetops in the ecstatic tongues of adolescence.

The wooded road between Emerald Mound and Church Hill is dotted with trailers and small houses, but as I near the two-hundred-year-old Episcopal church that marks the settlement, the woods recede, and the landscaped grounds of splendid plantations stretch away from both sides of the road. Beyond moss-hung cedar trees and white fences, swans glide majestically across ponds that might be in England. But the only cathedrals near these estates are cathedrals of kudzu, arsenical green spires and buttresses which construct themselves at a terrifying rate, using oaks and pecans and elms as scaffolding, encroaching upon the old cotton fields with the stealth of new jungle.

The history here is not all antebellum. Andrew Jackson married Rachel Robards at the end of this road in 1791, but of late the neighborhood has entertained more eccentric visitors. When I was in high school, the actor George Hamilton purchased one of these homes and lived there for a while in opulent planter style. The fall of the Marcos regime in the Philippines brought to light the strange revelation that the "Hamilton" house was actually owned by Imelda Marcos. It then passed for a time into the hands of Hare Krishnas, a separatist faction which morphed into the Southern Vedic Life Association, stirring up the country with fears of brainwashing. Even in rural Mississippi nothing is what it seems.

Ray Presley's trailer is set a little way back from the highway, beneath a stand of pine trees, and beside an algae-covered pond that might be an oil sump. The trailer has seen better years, but there's a gleaming new satellite dish hammered onto the southwest eave, like a ribbon on a pig's ear. A shining Ford pickup and a rusted Chevy Vega sit out front.