"Two-at-a-time. Two-at-a-time." I said it to match the cadence of my feet on the steps. Unconsciously I counted how many there were. I'd never done that before. Thirty-six. Twelve, then a landing; twelve, then a landing . . .

"Twelve-then-a-landing!" I was out of breath, but so hyper by the time I got to her floor I was afraid I'd break her door down.

She preferred that I use my key to the apartment because every time I rang the bell she was either in the bathroom or taking a souffle out of the oven. Inevitably, as soon as she opened the door and greeted me, the next moment she was off, flying down the hall – back to whatever she'd been tending when I buzzed. I let myself in and was surprised to see that all the lights were out.

"India?" I went into the living room, which was only dark shapes lit by the night-gray light from the windows. She wasn't there.

"India?" Nothing in the kitchen. Or the hall.

Puzzled both by the darkness and by the silence, I wondered if something had happened while I was coming over. It wasn't like her to do this. What was wrong?

I was about to turn on the lights when I remembered the bedroom.

"India?" The light from the street fell in stripes over the bed. From the doorway I could see her lying there, with her back toward me. She had no top on, and her naked skin was like soft, bright clay.

"Hey, what's up?" I stepped halfway into the room and stopped. She didn't move. "India?"

"Play with Little Boy, Joey."

It came from behind me. A familiar, beloved voice that sent a vicious, twisting chill down my spine. I was afraid to turn, but I had to. He was there. Little Boy. He was behind me. He was there.

I turned; Paul Tate stood leaning in the doorway, his arms crossed over his chest, the tips of white gloves showing behind his armpits. His top hat was cocked to one side. A dancer in the night.

I began to crouch like a child. There was nowhere to go. Lower. If I got lower, he wouldn't see me. I could hide.

"Play with Little Boy, Joey!" He took off his hat and, in a slow dream, peeled Paul Tate's face down and off his own: a smirking Bobby Hanley. "April Fool, scumbag."

"Joe?" India called from the bed and, a snake to the charmer's pipe, I turned.

She was facing me now, the light unnaturally bright over her naked form. She reached behind her head and, in a quick ripping motion, tore her hair and face away.

Ross.

Where the strength came from I don't know, but I sprang from my squat and, shoving Bobby aside, ran out of the apartment.

I was going so fast I slipped on the first steps and almost fell, but I grabbed the metal banister and righted myself. Out of the door to the street. Move, run; go, run.

What do I do? Where do I go? Bobby, Ross, Paul, India. My feet slapped those names at me as I ran nowhere, anywhere. Away. As fast as I'd ever run in my life. Move! A car honked, and I brushed its cold metal with my hand. A dog screamed because I kicked it running by. The owner's outraged cry. Another car horn. Where was I going? Ross. He'd done it.

Karen! Get to Karen! The idea lit my mind. A gift from God. Get to Karen! Get to New York. Run and hide, and go to Karen, where there was love and truth and light. Karen. She would save me. I looked fearfully over my shoulder for the first time to see if they were following me. They weren't. Why? Why weren't they there? It didn't matter. I thanked God for that, thanked him for Karen. I ran and prayed and saw it all – the whole Ross game. Saw it all with such perfect clarity that it was all I could do to keep myself upright. I wanted to lie down in the street and die. But there was Karen. She was sanctuary.

Things became clearer. I knew I was near an overhead station stop, and the train went near the Hilton Hotel. I could go to the Hilton and take a bus from there to the airport. Still running, I felt my back pocket to see if my wallet was there with all my money and credit cards. It was. Hilton, bus to the airport, first plane – any plane – out of Vienna, and then a connection from wherever to New York. To Karen.

Heaving for breath, I got to the station and once again took stairs two at a time.

No one was on the platform. I cursed because that probably meant a train had recently come and gone. I clenched and unclenched my fists at no trains, Ross, life. Ross was India. I had fallen in love with, made love to . . . my brother. How brilliant. Utterly fucking brilliant.

I paced up and down the platform, straining my eyes down the tracks, trying to will a train to appear. Then I looked behind me at the steps to see if anyone was coming. No one. Why? When that question began to frighten me, the thin line of a train light showed down the track. I was saved. As it grew larger, I heard someone coming up the stairs. The steps were slow and heavy, tired. The light loomed larger; the steps kept coming. The train snaked noisily into the station and stopped. The steps did too. The two cars in front of me were completely empty. I reached for the door and was about to pull it open when she spoke.

"Joseph?"

I turned; Karen was there. My Karen.

"Play with Little Boy!"

Ross.

EPILOGUE

Formori, Greece

There are one hundred people on this island. Tourists never come, because it is an ugly, rocky place and not what one has in mind when one thinks of Greece. Its closest neighbor is Crete, but that is seventeen hours away over the sea. With the exception of a supply boat that comes about every two weeks, we rarely see others. That is fine.

My house is stone and simple. Two hundred feet away is the water. I have a wooden bench by the door and I sit on it for hours. It is pleasant. I pay well, so they bring me lamb and fish to cook at the end of each day. Kalamaria, sometimes even great red lobsters big enough for three people. I sit outside when the weather is good, but fall is coming and there are many storms. They are brutal and endless. It doesn't matter. If it rains, I light a fire inside my house and cook and eat and listen to the rain and the wind. My house, my bench, the wind, the rain, the sea. I can trust them. I can trust nothing else.