“I know who he was.”
“Well, he marched his army all over the Mediterranean coast and Eastern Europe, but what made Hannibal’s army singular was that there was no dissension among his soldiers. Different nationalities, beliefs, languages, and no dissension in the ranks. You know what made that peace possible?” he asked. “In the words of Machiavelli, Hannibal’s ‘inhuman cruelty, which, with his boundless valor, made him revered and terrible in the sight of his soldiers, but without that cruelty, his other virtues were not sufficient to produce this effect.’” He was silent for a moment, and I could hear only the dry, scorching wind pushing against the glass panes and my captor’s escalated breathing. “‘Inhuman cruelty,’” he repeated. “That gives me chills.” His voice had turned passionate, as though he were speaking to his lover. “So,” he said, “start reading that tonight, and we’ll talk about it tomorrow. Are you hungry?”
“Yes, I’m starving.”
“Good. I’m gonna make dinner now, so why don’t you start on that book. I hope broiled shrimp on angel-hair pasta sounds good to you.” He ripped the bubble wrap away and shoved the metal panel back over the opening. My head dropped in relief that he was gone, and I sat motionless in my white bathrobe, staring vacantly into the floor.
A small lamp, screwed into the wall, exuded dim, barely sufficient light onto the pages. Because he’d yet to give me the duffel bag, I didn’t have the aid of my glasses, so my eyes were failing me.
I dropped The Prince onto the floor, having finished half of it. I hoped that would be enough for him. When I reached up and turned off the lamp, the placid light of a full moon flooded in between the bars, soft and soothing. I would’ve dreaded to spend my first conscious night in the perfect darkness of a new moon.
The room had grown unbearable from a day’s accumulation of sunlight, and though the heat had dissipated from the desert with the onslaught of night, it had lingered in my room. So I’d opened the window when the sun set, and now the dry chill of the desert night infiltrated the room, forcing me to burrow under the fleece blankets.
Closing my eyes, I listened. Through the open window, owls screeched and coyotes or wild dogs yapped at the moon, though they seemed a great distance away. Since dinner, I hadn’t heard a peep from him. No footsteps, no breathing, nothing.
For the last hour, jazz music had filled the cabin. It came quietly at first, stealing in like a whisper, so that I heard only the guttural rumblings of a bass. The volume rose, and the ride cymbal pattern and the offbeat swish of a closing hi-hat pulsed into the room. When the piano and trumpet and saxes climaxed through the wall, I suddenly recognized the song, and it took me back twenty years, to a different time, a different life. It was Miles Davis, John Coltrane, Julian “Cannonball” Adderley, Paul Chambers, Bill Evans, and Jimmy Cobb playing “All Blues,” a moody, blues form piece in 6⁄8, off the 1959 album Kind of Blue.
An acute scream soared above the music. I sat up and listened. Another scream ruptured the night. Clutching the iron bars, I turned my eyes on the desert, but saw nothing save miles of moonlit sagebrush. Again, a scream—a woman’s, closer than before.
Fifty feet away, a figure stumbled through the desert, choking for breath. When it was halfway past the window frame, a second, larger figure entered on the left side. It lunged upon the smaller figure and drove it into the ground at the foot of a greasewood shrub.
I heard a female voice, crying, shriller screams, pleadings, but the words were indecipherable when they reached my ears. The larger figure kicked at the ground. Then it knelt down, thrusting.
More screams, the loudest, most piercing yet. Silence.
Now only the large figure stood, staring at the ground. In a measured pace, it walked back in the direction from which it had come, pulling by long black hair what it had chased through the desert. I heard the footsteps and what it dragged sliding through the dirt, the woman’s legs still twitching.
Suddenly, it turned and looked in my direction. Moonlight, bluish and surreal, streamed across the stranger’s face.
I froze. My brother, Orson, stood smiling on the desert.
5
A stiff purple dawn unfolded on the desert, ending a terrible, sleepless night. I realized from here on out, whenever I closed my eyes, I would always see a man on a moonlit desert, dragging a woman through the dirt by her hair.
At the approach of footsteps, I sat up in bed. A dead bolt turned and the door swung open, revealing a man of my proportions: same thin, muscular build, same stark blue eyes. Similar but not identical, his face looked like the ideal of mine, more handsome in its superior proportionality. He stood grinning in the doorway, and in contrast to my unkempt graying hair, his crew cut shone a perfect brown. In addition to black snakeskin boots and faded blue jeans, he wore a bloody white T-shirt with sweat marks extending down from the armpits. I wondered fleetingly why he perspired so profusely before the sun had even risen. His arms were stronger than mine, and as he leaned against the door frame, he took an aggressive bite out of a large burgundy apple.
I couldn’t speak. It was like seeing not the ghost of a loved one, but the demon. Tears burned in my eyes. This is not real. This cannot be my brother, this terrible man.
“I have missed you so much,” Orson said, still hovering in the doorway. I could only stare back into his blue eyes.
Orson had disappeared from Appalachian State University our junior year, my last image that of him standing in the doorway of our dorm room.
“You won’t see me for a while,” he had said. And I hadn’t, from that day to this. The police had given up. He’d just vanished. My mother and I had hired detectives: nothing. We feared he was dead.
Now he apologized. “I wouldn’t have had you see that last night. The consequence of using old rope, I guess.” I noticed fresh scratch marks on his neck and face. Specks of glitter glinted on his cheeks, and I wondered if they’d come off the woman’s fingernails when she struggled. “You want breakfast?” he asked. “Coffee’s brewing.”
I shuddered, repulsed. “Are you kidding me?”
“I wanted to keep you in here for several days before bringing you out and revealing myself, but after last night …well, there’s really no use is there?”
Sweat slid down my sides.
As he bit again into the apple, Orson began to walk up a short hallway. “Come on,” he said.
I climbed down off the bed and followed him out of my room, heading toward the front of the cabin. My legs felt unstable, like they might sink right down into a puddle on the floor.
“Have a seat,” he said, pointing to a black leather sofa pushed against the left-hand wall. As I walked into the living room, I glanced behind me. At the terminus of a narrow hallway, two rooms, side by side, constructed the backbone of the cabin, mine on the left, a door without a dead bolt or a centered metal panel on the right. A small Monet of a skiff gliding under a stone bridge hung from a log between the two doors.
The walls of the living room were covered, floor to ceiling, with books. They stood on rustic shelves that protruded from the logs, and I was amazed at the diversity of the titles. I recognized, on the end of one shelf, the colorful jackets of the five books I’d written.
My brother walked to the other side of the room, which became a tiny kitchen. A record player sat on a stool by the front door, a three-foot stack of records beside it. Orson looked at me and, smiling, set the needle on a record. “Freddie Freeloader” sprang out from two large speakers, and I eased down on the sofa.