A breeze stirred, and something crackled around his feet. He was sure it was the bony hands of his grandmother clawing out of the earth to seize him, but when he looked down he saw only withered leaves rattling against one another as they blew across the grass.
With each heartbeat now like a fist slamming into a punching bag, Jim turned away from the grave, eager to get back to the car.
Holly put a hand on his arm. “Wait.”
He tore loose of her, almost shoved her away. He glared at her and said, “I want to get out of here.”
Undeterred, she grabbed and halted him again. “Jim, where is your grandfather? Where is he buried?”
Jim pointed to the plot beside his grandmother's. “He's there, of course, with her.”
Then he saw the left half of the granite monument. He had been so intently focused on the right half, on the impossible date of his grandmother's death, that he had not noticed what was missing from the left side. His grandfather's name was there, as it should be, engraved at the same time that Lena's had been: HENRY JAMES IRONHEART. And the date of his birth. But that was all. The date of his death had never been chiseled into the stone.
The iron sky was pressing lower.
The trees seemed to be leaning closer, arching over him.
Holly said, “Didn't you say he died eight months after Lena?”
His mouth was dry. He could hardly work up enough spit to speak, and the words came out in dry whispers like susurrant bursts of sand blown against desert stone. “What the hell do you want from me? I told you … eight months … May twenty-fourth of the next year….”
“How did he die?”
“I … I don't … I don't remember.”
“Illness?”
Shut up, shut up!
“I don't know.”
“An accident?”
“I… just… I think … I think it was a stroke.” Large parts of the past were mists within a mist. He realized now that he rarely thought about the past. He lived totally in the present. He had never realized there were huge holes in his memories simply because there were so many things he had never before tried to remember.
“Weren't you your grandfather's nearest relative?” Holly asked.
“Yes.”
“Didn't you attend to the details of his funeral?”
He hesitated, frowning. “I think … yes …”
“Then did you just forget to have the date of his death added to the headstone?”
He stared at the blank spot in the granite, frantically searching an equally blank spot in his memory, unable to answer her. He felt sick. He wanted to curl up and close his eyes and sleep and never wake up, let something else wake up in his place….
She said, “Or did you bury him somewhere else?” Across the ashes of the burnt-out sky, the shrieking blackbirds swooped again, slashing calligraphic messages with their wings, their meaning no more decipherable than the elusive memories darting through the deeper grayness of Jim's mind.
Holly drove them around the corner to Tivoli Gardens.
When they had left the pharmacy, Jim had wanted to drive to the cemetery, worried about what he would find there but at the same time eager to confront his misremembered past and wrench his recollections into line with the truth. The experience at the gravesite had shaken him, however, and now he was no longer in a rush to find out what additional surprises awaited him. He was content to let Holly drive, and she suspected that he would be happier if she just drove out of town, turned south, and never spoke to him of New Svenborg again.
The park was too small to have a service road. They left the car at the street and walked in.
Holly decided that Tivoli Gardens was even less inviting close up than it had been when glimpsed from a moving car yesterday. The dreary impression it made could not be blamed solely on the overcast sky. The grass was half parched from weeks of summer sun, which could be quite intense in any central California valley. Leggy runners had sprouted unchecked from the rose bushes; the few remaining blooms were faded and dropping petals in the thorny sprawl. The other flowers looked wilted, and the two benches needed painting.
Only the windmill was well maintained. It was a bigger, more imposing mill than the one at the farm, twenty feet higher, with an encircling deck about a third of the way up.
“Why are we here?” she asked.
“Don't ask me. You're the one who wanted to come.”
“Don't be thick, babe,” she said.
She knew that pushing him was like kicking a package of unstable dynamite, but she had no choice. He was going to blow anyway, sooner or later. Her only hope of survival was to force him to acknowledge that he was The Enemy before that personality seized control of him permanently. She sensed that she was running out of time.
She said, “You're the one who put it on the itinerary yesterday. You said they'd made a movie here once.” She was jolted by what she had just said. “Wait a sec — is this where you saw Robert Vaughn? Was he in the movie they made here?”
With a bewildered expression that slowly gave way to a frown, Jim turned in place, surveying the small park. At last he headed toward the windmill, and she followed him.
Two historical-marker lecterns flanked the flagstone path in front of the mill door. They were all-weather stone stands. The reading material on the slanted tops was protected behind sheets of Plexiglas in watertight frames. The lectern on the left, to which they stepped first, provided background information about the use of windmills for grain milling, water pumping, and electricity production in the Santa Ynez Valley from the 1800s until well into the twentieth century, followed by a history of the preserved mill in front of them, which was called, rather aptly, the New Svenborg Mill.
That material was as dull as dirt, and Holly turned to the second lectern only because she still had some of the doggedness and appetite for facts that had made her a passable journalist. Her interest was instantly piqued by the title at the top of the second plaque — THE BLACK WINDMILL: BOOK AND MOVIE.
“Jim, look at this.”
He joined her by the second marker.
There was a photograph of the jacket of a young-adult novel—The Black Windmill by Arthur J. Willott, and the illustration on it was obviously based on the New Svenborg Mill. Holly read the lectern text with growing astonishment. Willott, a resident of the Santa Ynez Valley — Solvang, not Svenborg — had been a successful author of novels for young adults, turning out fifty-two titles before his death in 1982, at the age of eighty. His most popular and enduring book, by far, had been a fantasy-adventure about a haunted old mill and a boy who discovered that the ghosts were actually aliens from another world and that under the millpond was a spaceship which had been there for ten thousand years.
“No,” Jim said softly but with some anger, “no, this makes no sense, this can't be right.”
Holly recalled a moment from the dream in which she had been in Lena Ironheart's body, climbing the mill stairs. When she had reached the top, she had found ten-year-old Jim standing with his hands fisted at his sides, and he had turned to her and said, “I'm scared, help me, the walls, the walls!” At his feet had been a yellow candle in a blue dish. Until now she'd forgotten that beside the dish lay a hardcover book in a colorful dustjacket. It was the same dust-jacket reproduced on the lectern: The Black Windmill.
“No,” Jim said again, and he turned away from the plaque. He stared around worriedly at the breeze-ruffled trees.
Holly read on and discovered that twenty-five years ago, the very year that ten-year-old Jim Ironheart had come to town, The Black Windmill had been made into a motion picture. The New Svenborg Mill had served as the primary location. The motion-picture company had created a shallow but convincing millpond around it, then paid to restore the land after filming and to establish the current pocket park.