And how the others had hated her. "Julien's spawn, look at her, with the witch's mark on her hand, look, like you!"
It wasn't so bad, just a tiny extra finger. Why, most people had never noticed it, though Laura Lee had been so self-conscious, and no one at Sacred Heart knew what it meant.
"The mark of the witch," Tobias used to say. "There are many. Red hair is the worst, and a sixth finger the second, and a monster's height, the third. And you with the sixth finger. Go live up at First Street, live with the damned who gave you your talents. Get out of my house."
Of course she had never gone, not with Carlotta there! Better to ignore the old men as she and her little daughter went about their business. Laura Lee had been too sickly ever to finish high school. Poor Laura Lee, who spent her life taking in stray cats, and talking to them, and going round the block to find them and feed them, until the neighbors complained. She'd been too old by the time she married; and to be left with those two girls!
Were we the powerful witches, those of us who bore the mark of the sixth finger? What about Mona with her red hair?
As the years passed the great Mayfair legacy had gone to Stella and then to Antha and then to Deirdre...
All of them lost, who had lived in the times of shadows. Even the bright blaze of Stella pinched out, like that!
"But there will come another time. A time of battle and catastrophe." That Julien had promised her the last night she had really spoken with him. "That's the meaning of your poem, Evelyn. I shall try to be here."
The music whined and thumped. He was always playing it.
"You see, Cherie, I have a secret about him and music. He cannot hear us so well when we play music. It's an old secret, my grandmere Marie Claudette told me herself.
"The evil daemon is actually drawn to the music. Music can distract him. He can hear music when he can hear nothing else. Rhythm and rhyme can also entrap him. All ghosts find such things irresistible, as they do visible patterns. In their gloom, they pine for order, for symmetry. I use the music to draw him and confuse him. Mary Beth knows this too. Why do you think there are music boxes in every room? Why do you think she loves her many Victrolas? They give her privacy from this being, which she would have now and then, just as anyone would.
"And when I am gone, child, play the Victrola. Play it and think of me. Perhaps I can hear it, perhaps I can come to you, perhaps the waltz will penetrate the darkness, and bring me back to myself and to you."
"Julien, why do you call him evil? They always said at home that the spirit in this house was yours to command. Tobias said it to Walker. They said it to me when they told me Cortland was my father. Lasher was the magic slave of Julien and Mary Beth, they said, which will grant their every wish."
He'd shaken his head, talking under cover of a Neapolitan song. "He's evil, mark my word, and the worst kind of evil, but he does not know it himself. Recite the poem again. Tell it to me."
Ancient Evelyn had hated to say the poem. The poem came from her as if she were the Victrola and someone had touched her with an invisible needle, and out came the words, and she did not know what they meant. Words that frightened Julien, and had frightened his niece Carlotta beforehand, words that Julien said over and over again as the months passed.
How vigorous he had looked, his white curly hair still very thick, his eyes very clever and focused upon her. He'd never suffered the blindness and deafness of old age, had he? Was it his many loves that kept him young? Perhaps so. He'd laid his soft dry hand over hers, and kissed her cheek.
"Soon I shall die like everyone else, and there's nothing I can do about it."
Oh, that precious year, those precious few months.
And to think of him coming to her, young in that vision. That she'd heard his voice all the way up at her window. And there he'd stood in the rain, all chipper and handsome and beaming at her as he held the bridle of his horse. "Au revoir, ma Cherie."
Afterwards little visions of him came so fast they were like the pop of flashbulbs. Julien on the streetcar passing by. Julien in a car. Julien in the cemetery at Antha's funeral. All make-believe perhaps. Why, she could have sworn she glimpsed him for one precious second at Stella's funeral.
Is that why she'd spoken so to Carlotta, accusing her outright, as they stood together amongst the graves?
"It was the music, wasn't it?" Evelyn had said, trembling as she made her verbal assault, fired with hatred and grief. "You had to have the music. When the band was playing loud and wild, Lionel could come up on Stella and shoot her with the gun. And 'the man' didn't even know, did he? You used the music to distract 'the man.' You knew the trick. Julien told me the trick. You tricked 'the man' with music. You killed your sister, you were the one."
"Witch, get away from me," Carlotta had said, seething with anger. "You and all your kind."
"Ah, but I know, and your brother's in the straitjacket, yes, but you're the killer! You put him up to it. You used the music, you knew the trick."
It had taken all her strength to say those words, but her love for Stella had demanded it. Stella. Evelyn had lain alone in the bed in the little French Quarter apartment, holding Stella's dress in her hands, crying against it. And the pearls, they would never find Stella's pearls. She had turned inward after Stella, she had never dared to want again.
"I'd give them to you, ducky," Stella had said of the pearls, "you know, I really would, but Carlotta will raise hell! She's read me the riot act, ducky, I cannot give away the heirlooms and things! If she ever knew about that Victrola--that Julien let you take it--she'd get it away from you. She's an inventory taker that one. That's what she ought to do in hell, make sure nobody's gotten out to purgatory by mistake, or is not suffering his fair share of fire and brimstone. She's a beast. You may not see me again so soon, ducky dear, I may run away with that Talamasca person from England."
"No good can come of that!" she said. "I feel afraid."
"Dance tonight. Have fun. Come on. You cannot wear my pearls if you won't dance."
And never again had they even spoken together, she and Stella. Oh, to see the blood oozing on the waxed floor.
Well, yes, Evelyn had answered Carlotta later, she did have the pearls but she'd left them there at the house that night, and after that she would never answer another question about them.
Over the decades, others asked. Even Lauren came in time and asked. "They were priceless pearls. You don't remember what happened to them?"
And young Ryan, Gifford's beloved, and her beloved, even he had been forced to bring up the unpleasant subject.
"Ancient Evelyn, Aunt Carlotta will not drop the question of these pearls." At least Gifford had kept her counsel then, thank heaven, and Gifford had looked so miserable. Never should have showed the pearls to Gifford. But Gifford had said not a word.
Well, if it hadn't been for Gifford, the priceless pearls would have stayed in the wall forever. Gifford, Gifford, Gifford, Miss Goody-two-shoes, Miss Meddler! But then they were in the wall again, weren't they? That was the lovely part. They were in the wall right now.
All the more reason to walk straight, to walk slow, to walk sure. The pearls to
o are up there, and surely they must be given to Mona, for Rowan Mayfair was gone and might never return.
My, so many houses on this long avenue had vanished. It was too sad, really. Whatever made up for a magnificent house, full of ornament and gay shutters and rounded windows? Not these, these mock buildings of stucco and glue, these dreary little tenements all got up for the middle class as if people were fools after all.
You had to hand it to Mona, she knew. She said quite flatly that modern architecture had been a failure. You had only to look around to see, and that was why people loved the old houses now. "You know, I figure, Ancient Evelyn, that probably more houses were built and torn down between 1860 and 1960 than ever before in human history. Think about the cities of Europe. The houses of Amsterdam go back to the 1600s. And then think about New York. Almost every structure on Fifth Avenue is new; there is hardly a house left standing on the whole street from the turn of the century. I believe there is the Frick mansion, and I can't think of another one. Of course I've never been to New York, except with Gifford, and it wasn't Gifford's thing to go examining old buildings. I think she thought we went there to go shopping, and shop we did."
Evelyn had agreed, though she hadn't said so. On all accounts, Evelyn always agreed with Mona. Though Aunt Evelyn never said.
But that was the great thing about Mona; before her computer had drawn off all her love, Mona had used Ancient Evelyn as her sounding board, and it had never been necessary to say anything to Mona. Mona could make a long conversation all on her own, proceeding with manic fire from one topic to another. Mona was her treasure, and now that Gifford was gone, why, she would talk to Mona and they could sit alone, and they could play the Victrola. And the pearls. Yes, she would wrap them around Mona's neck.
Again came that wicked and terrible relief. No more Gifford of the haggard face, and frightened eyes, speaking of conscience and right in a hushed voice, no more Gifford to witness Alicia's decay and death with horror in her face, no more Gifford standing watch over all of them.
Was the Avenue still the Avenue? Surely she would come to the corner of Washington soon, but there were so many of these new buildings that she had lost her bearings.