The Manor (25 page)

Roth looked past Mason at the statue. "Good Lord, how did you get so much done already? You must be working like a pack of beavers."

Mason looked at the statue and tried to see it as Roth did. All the limbs were clearly suggested in the mass of wood, and it was distinguishable as a human form. The head was a featureless block but in close proportion to the rest of the body. The legs rose up from the base with a vibrancy and strength.

"It's coming along," Mason said. "I promised Miss Mamie it would be lovely."

"What's the rush? You're going to bust a blooming artery if you keep at it like that."

"Say, can I ask you something?"

"As long as you put down the hammer."

Mason laid the hammer on the worktable beside the bust. "Take a look at this painting." Roth set his canisters on the table and Mason lifted the canvas to the light of the nearest lantern. Roth pursed his lips in approval. "Quite a piece of work."

"What do you see in that smudge there, at the top of the house? Along the railing of the widow's walk?" Roth bent close and peered at the shapes. "Looks like people to me. Wonder who messed it up."

"Would you believe me if I told you those people weren't there two days ago?" Roth looked at Mason and then back at the painting. "I'd say you're ass over teakettle from overwork."

"Wel, maybe it's something to do with the chemicals in the paint. It just bugs me, that's al. As an artist my-self, I know how it feels to come up short of perfection."

Roth gave his barking laugh. "Don't kid yourself with all that 'artist' rot. It's all about jack, selling out for whatever you can get."

Mason rubbed his chin and felt the scratch of stub-ble. He had been neglecting his hygiene. He could smell his own underarms. To Roth, the studio must have stunk like the laundry room at a gym. Mason knelt and retrieved his shirt, shook the wood chips free, and put it on. He glanced at the statue and felt guilty for thinking of abandoning it.

"What are you doing down here?" he asked Roth, before his mind could fixate on Korban again.

"Going to develop some negatives. Miss Mamie said I could use the wine cellar. Dark enough down here, don't you think?"

"And warm, too. They must be keeping the main furnace going full tilt. It's on the other side of the wall there. I hear them stoking it every three or four hours."

"This Korban bloke must not have been much of a save-the-trees sort." Mason looked at the statue again. "Maybe in some crazy way, he
is
the trees."

"Get some sun, Mason. You're starting to go a bit dodgy."

"Maybe you're right."

"Loosen up, have some fun." Roth grinned, flashing his vulpine teeth. "Have a go at that quirky bird Anna. She's your style."

"No, thanks. I have enough worries. I'd better get some food in me so I can finish this thing." From the stairs, Mason took a last look back at the statue that would be Ephram Korban. It was going to be wonderful. Dennis Graves would eat his mallet in jealousy. This creation was shaping up to be a god. Spence wept.

The beauty, the elegance of the prose, was sweeping over him like the black tide in his novel. He could feel it approaching. With every sentence, every preposition, every punctuation mark, he was nearing the Word. The keys sang as they slapped against the carriage, the ringing bell of the return heralded the coming glory. Spence could barely see the page through the blur of his tears, even with the sun pouring through the window, but he didn't need to see. The ghostwriter was compelling his fingers, sending them flying over the keyboard, the words no longer even remotely his own.

Spence wondered if that made any difference. The word
author
was derived from authority. He had al-ways prided himself on his control and mastery of lan-guage, of juggling the alphabet, tricking verbs, nailing down nouns. But this was the uninhibited writing, the deeper language, the cracks between sound and thought. Communication that got to the heart of the truth.

He was dimly aware of Bridget on the bed. He would go to her later, when darkness came. New strength surged in his flesh, his blood was rejuvenated, his power to per-form restored. The gift and blessing of the Word. The act of sacrifice always gave power back to the one mak-ing the sacrifice.

The room was cold, even with the fire leaping up the chimney as if yearning for the freedom of the sky. His fingers were like winter sticks, but stil they rattled the keys, the music of ice cubes in a glass. Ephram Korban watched Spence from the portrait, the most encourag-ing of editors, his dark eyes suggesting plot twists. Bridget could wait, impatient and aching in the warm bed. For now, there was only the page. The final page. Spence sighed. The ending was always like a smal death.

Those bittersweet words,
The End.

Maybe End was the One True Word.

The only word that had ever mattered.

The manor welcomed Anna back, with its dark wainscoting and high ceiling and the fire roaring in the foyer hearth. And Korban, benevolent old Ephram,
Grandfather
Ephram, smiled kindly down from his vigilant perch above the mantel.

Maybe she did belong here. As much as anywhere. She belonged nowhere else, after al. And Korban Manor was the end of the world, the kind of place where Anna deserved to pass her final days, walking these windswept ridges in the hard heart of the Appalachian winter. If she died here, her spirit would answer its true calling, her ghost would drift above the manor just as she'd seen so many times in her dreams. And was that so bad?

As long as Rachel Faye Hartley stayed in the grave-yard or haunted the trails of Beechy Gap, never cross-ing this threshold of stone and wood, then Anna could be as content as any dead and restless thing. To gaze from the widow's walk, a widow without a husband to mourn, nor even a mother for that matter, and wait for whatever came after the passing of forever. Could such an afterlife possibly be worse than her actual life, which she had drifted through without any positive ef-fect, never knowing the ful and mysterious power of love?

No. Death could never be worse than this life, the one that cancer had invaded, where she had been abandoned, where she had walked a million sad miles alone.

"Anna?"

God. Not him, not now. She wiped quickly at her eyes, pretending they had been stung by the smoke that came down the chimney as the wind turned. "Hi, Mason."

"I'm glad I found you. I've been meaning to ask you something."

"As long as it's not personal."

"Hey, are you okay? You look a little shook-up."

"Like I've seen a ghost?" Anna managed a bitter laugh.

"Wel, that's sort of what I wanted to ask you about. Because there's a painting of Korban Manor down in the basement—"

Anna moved closer to the inviting warmth of the foyer's fireplace, rubbing her hands together. The action was designed to put distance between her and Mason, but he hovered uncomfortably near. He checked the hallways, then spoke, his voice lower.

"The painting has a smudge on the rooftop," he said. "And the way the paint's breaking down, it looks like the artist may have hidden some figures on an earlier layer of paint, sort of like a subliminal image. Because the smudge is starting to look like people."

"Don't artists sometimes recycle their canvases? Maybe the painter covered over a mistake or a rough draft."

"Well, that's what I thought, too. But now I can see their faces."

Anna looked up at Korban's portrait, wondered how many times that face had lived in a painter's fevered mind, how many hours her long-dead relative had sat in stiff repose as an adored subject. Even Cris had talked about how the manor and Korban's face kept creeping into her mind until all her fingers wanted to do was record him in charcoal, ink, and Conte crayon. And Mason had told Anna about the bust of Korban, how the dead man's image haunted his sleep and drove him into obsessive bouts of work.

"Let me guess," Anna said. "One of the faces is Ephram Korban's. Because you see him every time you close your eyes."

"One of them is Ephram Korban." He glanced side-ways at the portrait, as if not quite trusting it enough to turn his back to it. "But that's not so strange, consider-ing that nobody seems to do anything creative around here without invoking the old bastard in some way or another."

"He looks sort of charming, doesn't he?"

"As charming as a nest of snakes, maybe."

"Korban gets painted a lot around here. Big deal. What else is strange about the painting?"

"One of the other faces. I mean, the oil paint is dry, and from the dust on the frame, it might be a year old, or might be twenty. Maybe more. And you told me you'd never been here before."

"I never lie, unless I have a good reason."
Except to myself I've been lying to myself since before I learned
to speak.

"Then, since you're a ghost hunter, you might be in-terested to know
that your
face is in the painting." The fire spat an ember onto the hearth, toward Anna. Mason crushed it out with his foot.

"Show me," Anna said.

Wiliam Roth puled the negatives from the glass jar with practiced movements. He'd unwound hundreds of rols of film, but this was the first time he'd done it in a wine cellar. A red light would have been handy, but this was no harder than developing in a tent in Sudan or a shack in the Amazon basin. He'd mixed the chemicals by the light of a lantern, doused the flame, done his business, and rinsed thoroughly.

All that remained was to let the film dry. The base-ment air was still, which might help keep the heavy dust off the emulsion. Dust hung everywhere about this place, what with the ashes of constant fires drifting about. And that felow Mason with al his sawdust and grit.

Roth felt along the surface of the workbench, found the matches and the warm globe of the lantern, then stroked the match to life and touched it to the wick. He'd rigged a piece of twine across the smal room, and now attached the six rols of film to it using clothespins borrowed from the maid. After hanging the last strip, adding an extra clothespin at the bottom to take the curl out of the celluloid, he brought the lantern closer for a look at his work.

Ah, there were those shots from the bridge, and even colorless, and with black, white, and shades of gray re-versed, he could tel the photos would add to the legend that was Roth. He scanned down the squares of im-ages, coming to those of the bridge and Lilith.

"Bloody hell?" He brought the lantern closer, even though he risked warping the celluloid with the heat. There spanned the length of bridge, where it disap-peared into the trees leading back to Black Rock and civilization. Those creepy ravens were perfectly plain in reverse image along the bridge rails, and the frosted spiderweb hung in the pictures like a dark piece of lace. But Lilith didn't appear in any of them. Roth wiped his eyes. Maybe he'd advanced the film too far, taken the shots of her after he'd reached the end of the rol. That was the sort of thing amateurs did, gawps and ninnies, not masters. When was the last time Roth had made a mistake?

"Bloody goddamned hel," he whispered, his accent a blend of Manchester and lower-class Cleveland. Maybe it was time for a drink, a comfy fireside, and a bit of rest. The fringe benefits of fame and fake charisma might prove to be fleeting if he kept on like this. Especially since Spence was proving to be a stone wal. If Roth's luck didn't improve soon, he might start blaming the curse of Korban or some such.

He lifted the lantern high, the dusty bottoms of the bottles surrounding him like ancient eyes. He puled a bottle from the rack that lined one wal. The dark glass bore a plain label, corked right here at the estate. In ink, someone had handwriten
1909.
Probably a decent year. Decent enough to blot out that memory of the bridge, at any rate. And maybe decent enough to warm the heart and part the legs of the fair and tender Lilith. Roth tucked the bottle under his arm and left the basement, his photographs consigned to the darkness.

"She won't let me leave," Adam said.

"Damn." Paul took another draw off his joint. The sweet smel of marijuana drifted across the back porch. "Too bad, Princess."

Paul's third joint of the day. Rational conversation would be impossible. But then, hadn't it always been? There wasn't much left to discuss anyway.

Adam stood against the rail, staring out at the moun-tains. Paul sat in one of the mule-eared rockers, not bothering to move his chair closer to Adam's. The noise of the piano leaked from the study, drowning out the morning song of birds. Someone laughed drunk-enly inside the house, no doubt another suffering artist who had self-inflicted misery to drive away.

Adam didn't even have that pathetic excuse for his nightmares. Because he'd gone to bed cold sober, and his mind was far too clear, preserving every detail of his death and subsequent resurrection.

"You know something?" Paul's face looked sinister as he sucked in a lungful of smoke. He held it in, then exhaled toward Adam with an exaggerated flourish. "Maybe if you'd loosen up, you could get a litle more joy out of life. Do you always have to be so damned se-rious about everything?"

Uptight city boy. That was Adam, al right. Worried about mutual funds when most people were worried about scoring the night's lover, deciding which band was the flavor of the month, or choosing a brand name clothes designer. But at least Adam wasn't selfish. That was why making the relationship work was so impor-tant to him. That was why he wanted to adopt a child.

He wanted to share what he had to offer, to give himself away. He wanted a home in somebody's heart. Only he now feared it wouldn't be Paul's.

"Let it out," Adam said. "Go ahead and destroy me. That's all you've done since we got here, anyway. Might as well finish the job."