Bad Men (2003) (5 page)

“He just paints the same view, over and over,” she said to her son shortly after she and Danny had visited the old man for the first time, paying a neighborly call with cookies.

“It’s not the same view,” the boy protested. “It’s different every time.”

But she had merely glanced at the small watercolor that the old man had presented to the boy on their departure, the rocks on either side of the inlet a bluish gray, the sea a dark, threatening green. It was an ugly picture, she thought. All of the old man’s pictures were ugly. It was as if he were unable to perceive anything but the most mundane, dreary aspects of the landscape before him. There were no people. Hell, he couldn’t even paint birds or clouds, or if he could, he sure never bothered to place them in his pictures. Grays and greens and washed-out blues, that seemed to be the sum total of shades on his palette.

But the boy had placed the painting above his bed and was prouder of it than any of the dozens of other posters and cards and notes that obscured the walls, even prouder of it than he was of his own work, which his mother thought was far better than anything the old drunk was ever likely to produce. Marianne was never going to say that to Jack’s face, though. The old painter might have his flaws, but an absence of generosity was not one of them. The house in which they now lived was rented from him and even by island standards he had asked little for it. She had that much for which to be grateful to him.

“Please, Mom,” said Danny.

If she did not relent, there would a tantrum and she would be distracted from the task at hand, and she could not afford to be distracted from it. She gave up and dismissed him with a wave.

“Go, go. But if you think that there’s even the slightest thing wrong with Jack, you come straight back home, you hear me?”

He nodded solemnly, then broke for the door. His mother stood and walked to the window, her bedroom looking down on the path that wound between their property and Jack’s house. In the beginning, she had led him along the way herself, either holding his hand or watching anxiously as he bounded ahead. After a while, she had started to let him make the short walk between the two houses alone. It wasn’t far, and she could follow his progress every step of the way. She felt that it was important to allow him a little independence, a little room in which to grow. She wanted him to be tougher, while simultaneously fearing the consequences of releasing him from her protection. It was the dilemma of every parent, she knew, but a mother without a man to share the raising of a male child felt it more acutely. Sometimes she sensed that she was being forced to make choices that were against her nature in order to compensate for someone who wasn’t there.

The boy trailed his way down, the soda can still clutched in his hand, like a small, bright fragment of canvas set adrift from the whole, his red windbreaker startlingly bright against the trees. Her eyes remained upon him until he reached the old man’s door. She saw him knock and wait patiently, and then the door opened and he was gone.

Vincent “Jack” Giacomelli had come to Dutch Island in the spring of ’67, after he had lost his job teaching at some fancy college on the East Coast. He was a walking history of art, even if his knowledge and appreciation had never enabled him to paint with even one iota of the talent and imagination of those of whom he spoke to others. Things had started to turn black in the summer of ’65, when his wife left him for a professor of physics who drove the kind of fancy sports car that physicists (who were, in Jack’s experience, so boring they made even mathematicians seem kind of entertaining) were not supposed to know existed. After she went away, Jack’s life began to fall apart, or maybe it had been falling apart anyway and that was why she left. Jack was never too sure, and most of that period of his life remained a blur. Truth be told, the blur extended up to a couple of months back, when he had fallen and bumped his head, and Joe Dupree had sat him down on the chair and spoken to him in that way of his, that quiet way that told you that if you didn’t shape up and take his advice, then you might as well pack your bags, lock your doors, and head for the mainland, because Joe Dupree wasn’t going to have any nonsense on his island.

What Jack couldn’t figure out was why he didn’t feel any resentment toward the policeman. After all, people had been telling him to shape up for the best part of forty years and he hadn’t given a red cent for their advice. But Joe Dupree was different. There was no other way to put it. When Joe Dupree looked at you in that strange, sad way of his, it was like being an onion beneath a knife held by a skilled hand, as layer after layer was exposed and discarded until only the very core remained.

Or until nothing at all remained, depending on how far he went, or the sort of onion you were. Jack had been kind of worried that if Joe Dupree kept peeling, he would find out some terrible truth about Jack that the old man himself had never even suspected existed or that he had somehow refused to face. It was the fear that he had nothing left to offer, nothing but bad art and broken promises, and that Joe Dupree was capable of revealing that truth. Once exposed, it could never again be hidden.

After that talk, Jack went on the wagon for a while. It didn’t last, of course. It never had before, and even Joe Dupree wasn’t likely to have that much of an impact on a hardened booze hound like Jack, but the old man was more careful now, drinking only in the evenings and never, ever, taking a bottle to bed with him as he used to do in the good old days. Instead, he began to paint at a faster pace than ever before.

He’d been dabbling with painting for a long time, of course. Jack made some money selling bad oil paintings and worse watercolors to tourists, sometimes from a little stand that he set up down by the waterfront in Portland on sunny weekends, laying on the old-salt act as thickly as he could, inventing the kind of family history that a lot of folks around here could claim for real but that in Jack’s case was as false as the bottom of a magician’s hat. But he earned enough to keep himself in reasonable comfort in a house long since paid for, which was now his to pass on to whomever he chose—a couple of cousins, a handful of nieces and nephews, or his sister, Kate, who, if Jack’s will was anything to go by, was likely to be one disappointed lady once he was cold in the ground.

The doorbell rang. He wandered down the hallway, his old sneakers making a slapping sound on the bare boards. Through the frosted glass of the door he could make out the shape of the boy, disintegrating into black and red shards like watercolors dropped on oil. He opened the door and stepped back in mock surprise.

“Hey, it’s the Danmonster.”

The boy stomped past him, not even waiting to be invited in. He walked quickly to the door of Jack’s studio and then looked back at the old man for the first time.

“Is it okay?”

“Sure, sure. You go right ahead. I’ll follow you in soon as I get my coffee.”

Outside, daylight was already beginning to fade, igniting lights in the windows of distant houses. Jack retrieved his coffee cup from the kitchen, adding a little hot water to it to heat it up, then followed the boy into his studio. It was a small space, formerly a spare room, but Jack had transformed it by replacing one wall with sliding glass doors, so that the floor became grass that rolled slowly down until it eventually reached the trees that bordered the low cliff edge, the water beyond a dark, threatening blue. The boy was standing before the easel, looking at Jack’s latest work in progress. It was another oil, and another attempt to capture the view over the water. Another
unsuccessful
attempt, Jack thought. It was the uncertainty principle in action: the damn thing kept on changing, developing, and the instant he attempted to capture it, he became complicit in a lie. Still, there was something calming about the exercise, even as it drew closer and closer to failure with every movement of his hand, every stroke of his brush.

“This isn’t like the others,” said the boy.

“Hmm?” said Jack, momentarily distracted by his own failings. “What did you say?”

“I said this isn’t like the others. It’s different.”

“Different how?”

Jack joined the boy, then frowned and leaned closer to the canvas. There were marks upon it, like black streaks on the waves. He looked up at the ceiling and tried to determine if dirty water had somehow leaked down through a previously undiscovered crack, but there was nothing. The ceiling was white and unblemished.

Carefully, he reached out with a finger and touched the canvas, then drew his hand back slowly. The marks looked like paint, yet he couldn’t feel the texture of the brush strokes beneath his touch. He looked closer and saw that the black marks were under some of his own strokes, the horizontals that he sometimes used in an effort to capture the movement of the sea. Somehow, it seemed that he had managed to paint over the blemishes without noticing.

But that was impossible. There was no way that he could have failed to notice the flaws in the canvas.

He took a couple of steps back and tried to understand what the marks represented, tilting his head as he went, then pausing as he reached the threshold of the hallway. Before him, the shapes became distinguishable as forms, and he knew what they represented. He knew also that there was no way that Jack Giacomelli had been responsible for the marks on the canvas, for Jack Giacomelli never added anything to the natural landscape that was his sole inspiration.

“They’re people,” said the boy. “You’ve put people in your painting.”

The boy was right.

There were two bodies floating in the oiled waters of his painting.

The bodies of men.

The island had been quiet for so very long.

Its past slumbered gently beneath the surface, its exhalations causing the trees to sway, the waters to ripple, the dead leaves to chase one another across the grass like small brown birds in flight. It slept the way one who has endured great pain might sleep, its rest both escape and recuperation. The memory of those who had suffered and died upon it in years gone by drifted through its consciousness, so bound up with the land and the trees and the sea that it was impossible to tell if they had ever truly existed as separate entities.

But there were places on the island that were a testament to those who had once lived in its gift, and the manner of their passing had ingrained itself upon the very stones themselves. At the heart of the island, barely a mile distant from the Cove, was a small huddle of stones surrounding patches of sunken earth. Seen from the ground, their pattern was indistinct, the placement of the stones seemingly, but not quite, random. Viewed from above, the true nature of the clearing became apparent. Here were corners and fireplaces and chimneys; here were yards and outhouses and pens.

Here, once, were people.

Their end, when it came, scarred the island, and the foundations of the dwellings ran far deeper than those who had built them had ever intended or imagined, stone fusing with stone until the divisions were no longer apparent, the constructions of man and nature becoming one. Only the patterns visible from above, and the half-buried monuments surrounding a single raised cross, marked this place for what it was.

This was the Site.

For a time—fifty years in the memory of men, but barely a second in the life of the island—there had been no more killing here and the island had remained uninhabited once again, but then more men had come, men who were fleeing the consequences of their actions, for places with a history of pain and violence will sometimes draw further pain and violence to themselves. And the island tolerated their presence for a time, until at last it could take it no longer, the soil being incapable of soaking up any more blood, the stones resisting the blackening of fires set in anger.

The men who came to the island brought with them a woman, taken from Scarborough against her will. Soldiers were searching for them on the mainland, so they took to the sea, hoping to find a place in which they would be safe for a time.

They came at last to the island.

There were four men. They were armed and battle hardened. They had fought the Indians, the British, the French. They feared no one.

It was fishermen, blown off course by a storm and seeking shelter in the coves of the island, who eventually found the woman. She had built herself a little shelter in the ruins of the old village, feeding on wild fruit and birds and fish to keep herself alive, and had lit a fire in the hope of drawing help.

She had been there for two weeks, and was almost insane when they found her.

Of the men, there was no sign.

They brought her back to the mainland and she was questioned about all that had occurred. She could tell them little. On the first day, they had taken turns with her. On the second day, the men’s boat had disappeared, although they had drawn it up on the shore and lashed it to a fallen tree.

On the third day, the whispering had started.

It sounded at first like the wind in the trees, yet there was no wind blowing. The voices seemed to come from all around, and the men grew uneasy. Indistinct shapes flitted through the margins of the forest. Knowing that she could not flee, they left her tied to a tree and headed into the woods on the morning of the fourth day. After a little time had gone by, she heard gunshots.

The men did not return.

Soldiers scoured the island, for these were vicious, dangerous individuals, but only one of them was ever found. The officer who discovered him thought at first that he was looking at the carcass of a small animal, until he touched it with his rifle and felt the skull beneath the hair. They began to dig, uncovering first his scalp, then his face, until finally his arms were revealed, outstretched in a crucifixion pose, and they were able, with difficulty, to pull him from the earth.

His name was Gabriel Moser, and he had been buried alive.

Except perhaps “buried” was not the right word, for there had been no signs of disturbance at his resting place and already there was grass growing around the crown of his head.