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“What’s the game? You hire me to find a lost painting. But you’re really looking for a lost son. Answer my question.”

“Please…I’m trying to give you information so you’ll know what you’re up against.”

“Up against? I’m only in this position because I agreed to help you.”

“And I thank you. Silas has been institutionalized more than once. He’s had the care, or at least the clinical evaluation of top psychologists. He never smiled much as a child. All the experts tell me he has brilliant mind, but a mind that’s without a conscience. He believes he’s some kind of warrior, the kind that made up one of the most ferocious fighters in the world — the Spartans. One story that he embodied was that of a Spartan named Aristodemus. He was a warrior who was falsely labeled a coward. But in the end, he proved to be one of the most brave and brutal fighters in the history of Sparta. I think, somewhere in Silas’ mind, he believes his ancestor, Henry Hopkins was similar to Aristodemus — a soldier labeled as a coward when in reality he was the exact opposite.”

“Reality is an abstract world for your son.”

“Where is he?”

“Ocala National Forest. That’s where I left him. I left him with a warning to leave my friend alone. He met her on a film set and has some fantasy that she’s the woman in the painting you hired me to find. Why would he have those fantasies?”

“He’s always had an unrealistic expectation about finding the perfect southern lady — refined, educated, beautiful, perhaps a touch of nobility in her lineage. Although, I’m sure he never saw that painting as a child, and would have no idea the woman in the painting was related to him — she certainly portrayed the image of his make-believe world. As a teenager, he rarely had a girlfriend for more than a few days. Later, when he did find a woman that seemed to tolerate his fictional idea, he beat her. She got a restraining order, but Silas can’t be restrained. Her family up and moved. It was so fast it was as if they were in a witness relocation program.”

“Why did you think if I found the painting I might find Silas?”

“Because of his fascination with Civil War things. As a re-enactor, I knew he read all the Civil War magazines and blogs. If you found the painting, I was going to take a picture of it, write an historical description. Make it public, especially in the places he might look. This would prove that his ancestor, Henry Hopkins, wasn’t a coward, but rather a soldier who died a noble death in combat. Somewhere in the back of my mind, in the place I harbor hope, I wanted to see if that would release the pressure valve on Silas’ anger, meaning any burden of proof about his ancestor was no longer his to show. You found my son. Even though you weren’t looking for him. And I thank you for that. If you want to walk away from trying to track down the painting, I understand.”

O’Brien said nothing, looking up in the sky as a bat flew through the moonlight.

Louden said, “I had heard rumors that Silas was running some clandestine dissident paramilitary outfit. I know my son and what he’s capable of doing — of destroying. Unless he’s contained with medication or locked away, I’m afraid he will do something that could hurt a lot of people — a modern day Picket’s charge against the government. If the painting is found, that alone might be enough to curb his drive, his personal need for proving he isn’t a coward. Will you continue searching for the painting? I’m deeply sorry if you believe I deceived you. It wasn’t my intention.” O’Brien could see Louden’s eyes watering.

“I made a commitment to find it for you. But you need to know this: the unearthing of the painting could lead to the burial of your son. Is that something you want to risk?”

“Sometimes we have to make unbearable choices in life. This is one of those times.”

“I have an idea where the painting might be?”

“Where?”

“At this point, the less you know, the better. If I’m right, you will know.” O’Brien turned and left the lighthouse parking lot, left the tearful old man with a lost son fighting a lost cause and inner demons. O’Brien walked north on the beach, the breakers crashing on the hard sand, an angry surf frothing in the milky glow of the moon, the moving beam from the lighthouse devoured by a vast black sea.

SIXTY-NINE

O’Brien wanted to stop by Dave’s boat, Gibraltar, pick up Max and give Dave an update. But not now. He needed someplace quiet to make a call, and he needed to do it before anything else happened. He walked past Nick’s boat, St. Michael, the laughter of a woman and Greek music coming from the salon. Nicks virility and life restored post Malina. O’Brien boarded Jupiter, the bow and stern lines creaking against the gentle pull of the rising tide. He climbed the steps up to the bridge, unzipped the isinglass windows and sat in the captain’s chair.

A calm breeze across the marina carried the scent of the sea — briny, mixed with garlic shrimp and smoldering charcoal. He called Laura Jordan and asked, “Was Jack’s van a production van that he used for his documentary work or more on a minivan for the family?”

“It was his production van for hauling gear and his film crew. Why?”

“If Cory was his partner, would he have had a key to the van?”

“Now that you mention it, I think he did have the extra key.”

“And he probably knew where Jack could or would hide the diamond in the van.”

“Possibly. Jack hid it in a concealed slot under the center console. And, the only reason he had it with him that day was because he had an appointment with a gemologist after the shoot to see if the diamond was real.”

“That’s a tough place to find for any thief to find. But easy if you know where to look. Maybe Nelson knew where to look because Jack shared the information with him. Even if he didn’t, Nelson probably was aware that Jack had a meeting with the gemologist and wouldn’t be able to retrieve the diamond from the safety deposit box in time to make the scheduled appointment. Therefore, if Jack had returned to the van and found the diamond gone, Cory Nelson would be the logical suspect. That fact is one more reason for Nelson to kill him.”

“One more? What other reason did he have?”

“You, Laura.”

“Me?”

“Nelson wanted you. He played the game well. Feigned the concerned ‘best friend’ and partner of your husband, the ‘Uncle Jack’ role with Paula, when all along he had you in his toxic sights, too.”

“Do you know if the police have arrested him?”

“No, but I’ll find out and let you know.”

“I feel so bad that Ike Kirby’s life was taken over this…and the other man who I didn’t know. And the horrific irony is that I thought I really knew Cory. We trusted him with everything, even with a spare key to our home and Jack’s van.”

O’Brien said nothing, waiting for the drone of a shrimp boat’s diesel engines, as the boat made its way up the channel in the Halifax River from Ponce Inlet, to subside. He thought about what Silas Jackson had said when he confronted him. “You got the wrong man, peckerwood. I didn’t kill that college teacher or the clerk.”

“Sean, are you there?”

“Yeah, I’m here. I thought a Civil War re-enactor named Silas Jackson may have been the person who killed Jack. Now I know it was Cory Nelson. Because Nelson had the key to your home and the alarm code, he could have searched your house for the document any time you weren’t there. If he couldn’t find it…that could have been the only reason he’d enter your place in the dead of night.”