—G. K. Chesterton, "The Invisible Man"
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At five minutes before four o'clock Monday morning Kate's car reached the top of Russian Hill and rounded the last corner before home. With considerable relief she poked her finger at the button for the garage door opener and saw the light spill into the darkness as the door rose slowly to accept them. Her passenger's eyes flew open with the sharp turn and the abrupt drop from street level, and when the door had rumbled shut she slowly sat up and looked around in the sudden, still silence.
"Home." Kate smiled at her. "You wait here for a minute." Kate got out and did a quick check of the garage—in the storage closet, in the back of Lee's sleek almost-new convertible, under the stairs. She then slid home the bolt on the garage door and went to open Vaun's side.
"We'll get you settled and I'll come back for your things."
"I can carry one," Vaun protested.
"Best not." Kate, hands empty, led the way up the stairs. She punched the code into the alarm panel at the top, opened the lock with her key, and reached up immediately to still the little bell the door set to ringing as it opened. She bolted the door behind them, flipped the inside alarm switch back on, and turned to Vaun.
"I'll introduce you to the alarm system tomorrow. Can I get you anything to eat or drink?"
"I'd like a glass of water."
Kate led her down the short hallway to the kitchen. Lights were on all over the house, as she'd told Lee to leave them, and she went across and filled a glass with spring water and added two ice cubes before she realized that Vaun was not behind her. She walked rapidly into the living room and found Vaun with the curtains pushed back, the magical sweep of the north Bay spread out in front of her. The night was clear, and every point of light from Sausalito to Berkeley sparkled. Alcatraz looked like a child's toy at their feet, but Kate pulled the curtains together in Vaun's face.
"Please don't stand in front of a window with the inside lights on. It makes me nervous. Here's your water." Vaun looked like a startled deer, and Kate knew she had been overreacting. "I'm sorry, I didn't mean to snap at you, but it's one of the rules of the game. After I've checked the doors and windows we can turn off the lights, if you like, and you can look to your heart's content. You've got the same view upstairs," she added, "and higher up, though there are fewer windows."
Vaun said nothing, just nodded, and drank thirstily.
"I'll give you a quick tour so you'll know what kind of place you're sleeping in, and then take you up. Okay? This, as you can see, is the living room. If you get the urge there's a television set and VCR behind those cabinet doors." The room was the full width of the house, more than fifty feet, with high walls of virgin redwood and natural hessian and a magnificent expanse of oak floor inset with a complex geometrical border of cherry, birch, and teak. It was divided informally by a hodgepodge of mismatched furniture, a beautiful rosewood dining table with a dozen odd chairs at one end, pale sofas and chairs at the other, two inexpensive Tibetan carpets in rose and light blue and white, a number of large and healthy plants, and an enormous metal sculptural form bristling with a hundred delicate pointed bowls, each one supported by a tiny, perfect human figure. Vaun went over to it and eyed it curiously, and Kate laughed.
"That's one of Lee's treasures. It's a sort of oil-lamp candelabra, from South India. Each of the bowls is filled with oil and has a wick stuck into it."
"Do you use it?"
"We lit it once, but either we had the wrong kind of oil or else it needs to be outside, because it smoked to high heaven and covered everything with black smuts."
"And we slipped on patches of oil for a week afterwards," came a voice from behind them. Lee stood in the doorway, wearing a long, thick white terrycloth bathrobe, her hands deep in the pockets. The tangle of her hair spoke of the pillow, and an angry red smudge on the bridge of her nose snowed that she'd fallen asleep with her reading glasses on again.
"I'm sorry we woke you, Lee," Kate said, and made introductions.
"You didn't wake me," she said, and looked at Vaun to add, "I'm often up early."
"Lee, would you finish giving her the five-cent tour while I run her things upstairs?"
"Glad to."
Kate followed Lee's easy monologue with her mind while working the alarms, stilling the bell, and carrying the bags up from the garage to the recently furnished guest room. She then checked every window and door, every closet, and (feeling slightly foolish) under every bed, before joining the two in Lee's consulting rooms.
The suite of rooms where Lee saw her clients shared a front door with the rest of the house, but was entered by a door immediately inside the main entrance. The rooms were self-contained, with a toilet and even a small refrigerator and hot plate.
The first room was a large, informal artist's studio-cum-study, with a desk and two armchairs in one corner and an old sofa and some overstuffed chairs in another. Three easels, a high work table, a sink, and storage cupboards took up the rest of the room. In the cupboards were paper, canvas boards, watercolors, acrylics and oils, big tubs of clay, glazes, dozens of brushes, and myriad other supplies that might be called for by a client putting shape to an image from the depths of his or her mind. It was a comfortable, purposeful space, but the next room, the smaller sand-tray room, was Lee's pride and joy. Kate followed the sound of voices back into it.
She had not been in the room in two weeks, and she was struck anew at the enchantment of the place. Three solid walls of narrow shelves held hundreds, thousands of tiny figurines. There were ballerinas and sorcerers, kings and swans and rock stars, horses, dragons, bats, trees, and snakes. One long shelf held two entire armies, one tin with knights and horses, the other modern khaki. Tea sets, tiaras, and teddy bears, the walls for a castle and a gingerbread dollhouse and a suburban tract house, thumb-sized street signs, creatures mythical and pedestrian, men, women, children, babies, a tiny iconic crucifix and an ancient carved fertility goddess, a porcelain bathtub, cars, planes, a horse-drawn plow and a perfect, one-inch-long pair of snowshoes. There were even the makings for a flood and a volcanic eruption at hand, when destruction was called for. Vaun was standing next to the taller of the two sand-tray tables, drifting her hand absently through the silken white sand and concentrating on Lee's words.
"—exactly right. That's why I start nonartists out in the other room, and ask them to try the paints or a collage or a sculpture. But of course, an artist is used to forming things into a visual expression, and it's not as likely to be therapeutic as the sand trays are. Here, where all the objects are already available, not waiting for manipulation, the unconscious is freed from aesthetic decisions and judgments and can just get on with telling its story through the choice and arrangement of figures and objects. The statement the final arrangement on the tray makes can be very revealing."
"Revealing to you?"
"Both to me and to the client. When they have finished, I usually come in and ask questions and comment, and I often leave it up for a while to study it, though I do have a couple of clients who do one by themselves and then put it away unless they have a question. If I know the person well enough to be sure he can handle it, I encourage it. It's all therapy."
"Speaking of which," Kate interrupted gently, "do you think this is the best treatment for someone just released from a hospital bed?"
Vaun did look tired, despite the short sleep she had had in the car, and followed Kate meekly up the stairs, past Lee's room on the left and Kate's on the right, to the large airy room at the end of the hallway, the one with no nearby trees, no sturdy drainpipes, no balcony, and windows that framed an incomparable view of the world. Lee had put roses on the dresser, delicate, tightly furled buds of a silvery lavender color.