As always, there was the moment of resistance, and then peace as his self of that time slipped into unconsciousness. Old Charlie took over and saw, not the past, but the now.

A moment before, he was standing before a mirror, looking at his withered, hanging face; now he realizes that this gazing into a mirror before going to bed is a lifelong habit. I am Narcissus, he tells himself, an unbeautiful idolator at my own shrine. But now he is not unbeautiful. At twenty-two, his body still has the depth of young skin. His belly is soft, for he is not athletic, but still there is a litheness to him that he will never have again. And now the vaguely remembered needs that had impelled him to this find a physical basis; what had been a dim memory has him on fire.

He will not be sleeping tonight, not soon. He dresses again, finding with surprise the quaint print shirts that once had been in style. The wide-cuffed pants. The shoes with inch-and-a-half heels. Good God, I wore that! he thinks, and then wears it. No questions from his family; he goes quietly downstairs and out to his car. The garage reeks of gasoline. It is a smell as nostalgic as lilacs and candlewax.

He still knows the way to Rachel's house, though he is surprised at the buildings that have not yet been built, which roads have not yet been paved, which intersections still don't have the lights he knows they'll have soon, should surely have already. He looks at his wristwatch; it must be a habit of the body he is in, for he hasn't worn a wristwatch in decades. The arm is tanned from Brazilian beaches, and it has no age spots, no purple veins drawing roadmaps under the skin.

The time is ten-thirty. She'll doubtless be in bed.

He almost stops himself. Few things are left in his private catalog of sin, but surely this is one. He looks into himself and tries to find the will to resist his own desire solely because its fulfillment will hurt another person. He is out of practice-- so far out of practice that he keeps losing track of the reason for resisting.

The lights are on, and her mother-- Mrs. Carpenter, dowdy and delightful, scatterbrained in the most attractive way-- her mother opens the door suspiciously until she recognizes him. "Charlie," she cries out.

"Is Rachel still up?"

"Give me a minute and she will be!"

And he waits, his stomach trembling with anticipation. I am not a virgin, he reminds himself, but this body does not know that. This body is alert, for it has not yet formed the habits of meaningless passion that Charlie knows far too well. At last she comes down the stairs. He hears her running on the hollow wooden steps, then stopping, coming slowly, denying the hurry. She turns the corner, looks at him.

She is in her bathrobe, a faded thing that he does not remember ever having seen her wear. Her hair is tousled, and her eyes show that she had been asleep.

"I didn't mean to wake you."

"I wasn't really asleep. The first ten minutes don't count anyway."

He smiles. Tears come to his eyes. Yes, he says silently. This is Rachel, yes. The narrow face; the skin so translucent that he can see into it like jade; the slender arms that gesture shyly, with accidental grace.

"I couldn't wait to see you."

"You've been home three days. I thought you'd phone."

He smiles. In fact he will not phone her for months. But he says, "I hate the telephone. I want to talk to you. Can you come out for a drive?"

"I have to ask my mother."

"She'll say yes."

She does say yes. She jokes and says that she trusts Charlie. And the Charlie she knows was trustworthy. But not me, Charlie thinks. You are putting your diamonds into the hands of a thief.

"Is it cold?" Rachel asks.

"Not in the car." And so she doesn't take a coat. It's all right. The night breeze isn't bad.

As soon as the door closes behind them, Charlie begins. He puts his arm around her waist. She does not pull away or take it with indifference. He has never done this before, because she's only fourteen, just a child, but she leans against him as they walk, as if she had done this a hundred times before. As always, she takes him by surprise.

"I've missed you," he says.

She smiles, and there are tears in her eyes. "I've missed you, too," she says.

They talk of nothing. It's just as well. Charlie does not remember much about the trip to Brazil, does not remember anything of what he's done in the three days since getting back. No problem, for she seems to want to talk only of tonight. They drive to the Castle, and he tells her its history. He feels an irony about it as he explains. She, after all, is the reason he knows the history. A few years from now she will be part of a theater company that revives the Castle as a public amphitheater. But now it is falling into ruin, a monument to the old WPA, a great castle with turrets and benches made of native stone. It is on the property of the state mental hospital, and so hardly anyone knows it's there. They are alone as they leave the car and walk up the crumbling steps to the flagstone stage.

She is entranced. She stands in the middle of the stage, facing the benches. He watches as she raises her hand, speech waiting at the verge of her lips. He remembers something. Yes, that is the gesture she made when she bade her nurse farewell in Romeo and Juliet. No, not made. Will make, rather. The gesture must already be in her, waiting for this stage to draw it out.

She turns to him and smiles because the place is strange and odd and does not belong in Provo, but it does belong to her. She should have been born in the Renaissance, Charlie says softly. She hears him. He must have. spoken aloud. "You belong in an age when music was clean and soft and there was no makeup. No one would rival you then."

She only smiles at the conceit. "I missed you," she says.

He touches her cheek. She does not shy away. Her cheek presses into his hand, and he knows that she understands why he brought her here and what he means to do.

Her breasts are perfect but small, her buttocks are boyish and slender, and the only hair on her body is that which tumbles onto her shoulders, that which he must brush out of her face to kiss her again. "I love you," she whispers. "All my life I love you."

And it is exactly as he would have had it in a dream, except that the flesh is tangible, the ecstasy is real, and the breeze turns colder as she shyly dresses again. They say nothing more as he takes her home. Her mother has fallen asleep on the living room couch, a jumble of the Daily Herald piled around her feet. Only then does he remember that for her there will be a tomorrow, and on that tomorrow Charlie will not call. For three months Charlie will not call, and she'll hate him.

He tries to soften it. He tries by saying, "Some things can happen only once." It is the sort of thing he might then have said. But she only puts her finger on his lips and says, "I'll never forget." Then she turns and walks toward her mother, to waken her. She turns and motions for Charlie to leave, then smiles again and waves.

He waves back and goes out of the door and drives home. He lies awake in this bed that feels like childhood to him, and he wishes it could have gone on forever like this. It should have gone on like this, he thinks. She is no child. She was no child, he should have thought, for THIEF was already transporting him home.

"What's wrong, Charlie?" Jock asked.

Charlie awoke. it had been hours since THIEF brought him back. It was the middle of the night, and Charlie realized that he had been crying in his sleep. "Nothing,"

he said.

"You're crying, Charlie. I've never seen you cry before. "

"Go plug into a million volts, Jock. I had a dream."

"What dream?"

"I destroyed her."

"No, you didn't."

"It was a goddamned selfish thing to do."