Cheryl said, "Morgan."

Hadley steered through the pylon-guarded entrance, wheeled across the highway, and stopped. He waited.

Nothing happened.

He slid across the seat and peered into the black wall of the forest. Nothing.

He got back behind the wheel. He lit a cigarette. That took a little time. He opened the package, wadded up the paper and tossed it back over the seat, unfolded the crisp white dress and draped it over the seat next to him. That took some time too.

She didn't come.

He uttered a sudden snort of disgust. Of course! The lights. He shifted, angled the car close in to the ditch, and shut off the lights and motor.

It was very quiet out there. The forest slept, but for all its sleep it was alive with little creaks and whisperings. He climbed out, and something made him close the door very quietly.

There was no wind. Somewhere a train uttered a two-toned cry, and the mountains threw it back like a wailing wall. The hospital was a gold-checkered garment tossed carelessly on a ha.s.sock, with the checks showing randomly back, up, across. The emergency entrance blazed defiantly at the patient blackness, and from the whole structure came a hum of power; machines turning, water running, life flowing, coming in, going out.

The woods had their low, live sound, too, but it was at odds with the hospital and everything it represented. The forest had its light, too.

It took Guinn a while to see the light, because his pupils were still tensed from the brilliance of the receiving ward. It was not firelight, and it wasn't a flashlight. It looked like the third or fourth reflection of a welder's arc, but without an arc's flicker. Nor was it steady, like a magnesium flare; it waxed and waned irregularly, like the sound of a crowd at a prize fight. And it was very, very dim.

Guinn hesitated. Had Lynn seen the light? Probably. She had been very alone and very watchful, crouching naked in the dark. Had she then gone to investigate? It could be. She had more guts than most regiments. If he went in there, he might miss her. If she got to the car and he wasn't there, would she wait for him?

What else? He reached in the window, got his keys out of the ignition and the dress from the front seat. His clothes were still damp, but the night was very warm. He folded the dress and tucked it inside his jacket, on the right side. Then he headed for the brush.

The thicket just over the ditch was like an ancient boxwood, tangled and impenetrable. He cast to the right until he found what looked like an opening. He had to fight the branches, and he did so quietly. He got through, and found himself in a patch of wood that was very like virgin forest-a solid roof overhead and very little underbrush. He could see the light much better now, waxing and waning through the stark trunks. The going was good, and the possibility of Lynn's being back here made a lot more sense. The first thing she would have done would be to get through the hedge; after that, the light must have beckoned her strongly.

He forged ahead, unconsciously taking on the sliding stride of a natural woodsman, finding and avoiding projecting roots and rocks. His eyes were wide; he felt that an infrared picture would show his pupils almost as big as his irises. Bigger, maybe. His lips twitched at the fantastic thought, and he switched it out of his mind.

He began to hear the voice.

There is a pa.s.sage in Ravel's Bolero Bolero where the composer, either through a thorough scientific knowledge of vibratory physics or instinctively, under the guidance of his trained ears, gives the great droning solo theme to the clarinet, and adds a piccolo part. That piccolo, on paper, is sheer nonsense. It plays the same theme at the same intervals, but in a different and totally unrelated key. It makes almost as little sense on the piano. Orchestrated, it creates one of the most astonishing effects known to music. Its compulsion, as it restates the already hypnotic theme, is indescribable-and largely a function of the psychological susceptibilities of the listener. In acoustical terms, what is happening is that the clarinet, more than most instruments, projects harmonics with its basic tone. Ravel's amazing treatment uses a piccolo, which is very stingy with its overtones, to reinforce the usually inaudible fifth harmonic of the clarinet. The effect is that of a new voice, never heard before, speaking with the familiar tones of a friend. where the composer, either through a thorough scientific knowledge of vibratory physics or instinctively, under the guidance of his trained ears, gives the great droning solo theme to the clarinet, and adds a piccolo part. That piccolo, on paper, is sheer nonsense. It plays the same theme at the same intervals, but in a different and totally unrelated key. It makes almost as little sense on the piano. Orchestrated, it creates one of the most astonishing effects known to music. Its compulsion, as it restates the already hypnotic theme, is indescribable-and largely a function of the psychological susceptibilities of the listener. In acoustical terms, what is happening is that the clarinet, more than most instruments, projects harmonics with its basic tone. Ravel's amazing treatment uses a piccolo, which is very stingy with its overtones, to reinforce the usually inaudible fifth harmonic of the clarinet. The effect is that of a new voice, never heard before, speaking with the familiar tones of a friend.

This little-known piece of musicology flashed through Guinn's mind as he heard the voice. The a.n.a.logy was an exact one, for that was precisely what was happening, except that the voice which stated the basic tone was something more than human. It was certainly a single voice, but it had the quality of a great many ranges, from the highest tenor to the most shattering ba.s.so profundo, ba.s.so profundo, all speaking in unison. The second voice, the one pitched in a disharmony that served to reinforce a single one of the qualities of the main voice-that second one was familiar. In the rare moments that his acute ear could tune it away from its accompanying diapason, Guinn knew that he had heard those full, high, sweet tones before. all speaking in unison. The second voice, the one pitched in a disharmony that served to reinforce a single one of the qualities of the main voice-that second one was familiar. In the rare moments that his acute ear could tune it away from its accompanying diapason, Guinn knew that he had heard those full, high, sweet tones before.

Something began to bother him. He had moved forward a hundred feet before he realized what it was. His legs; the voice; the light-they were meshing too closely in their movements. Furiously, he identified it; he was walking in time to a beat which was created by the sound and the changing light. Not that they changed with any predictable regularity. Far from it. But as if they were part of some incredibly complex, rigidly fixed ritual, they touched and fled from and syncopated a basic beat-a beat faster than a quiet heart, forcefully held slower than a frightened and guarded one. He broke stride, fiercely defending his independence.

The light seemed to have its source in a circular area of the forest floor, and the voice was born somewhere in the light. The ground rose gently as he walked; suddenly, then, he saw it all.

There was a dip in the forest, a saucer-like depression thirty yards or so across. As he reached its lip, the entire scene below was revealed to him, suddenly, completely, as if a great curtain had parted.

A tremendous oak stood in the center of the depression. Its mighty spread had waned off anything but moss that had tried to grow around it, so that there was a smooth clearing around it. Standing at its base was the biggest man Guinn had ever seen.

He was standing in the clearing, his face upturned, his arms out toward the oak. He looked like an old oak himself. His skin was dark brown, his face gnarled, his arms knotted and powerful. They stretched out like winter limbs from the dazzlingly white sleeveless robe which covered him from his shoulders to his bare feet. The light-source was his robe, and his lips were the source of the great voice.

Behind him knelt Lynn, sitting on her heels, with her back arched and her hands on the ground behind her. Her head was up, her tangled, fine hair thrown back. Her teeth shone and her eyes blazed. Her lips moved. The second, harmonic voice was hers, in its highest register. It was modulated exactly to his magnificent chanting; she spoke so perfectly in concert with him that they might both have been controlled by the same mind, like two pipes of an organ under the knowing hand of a master.

The chant at first seemed wordless. Guinn slowly realized it was not. It was a series of syllables, most of them long drawn vowel sounds without diphthongs, like those in an Irish brogue. They were separated by unearthly consonants, staccato and clean. The language was like nothing he had ever heard, but it was good to listen to.

He stood there for uncounted moments, forgetting to breathe, completely entranced. There was an intensity to the light which changed with the quality of the sounds, and there was a quality to the light which changed with the sounds' pitch. It was a thing which had to be experienced to be understood, and once that understanding occurred, it was inexpressible.

The huge dark man dropped one of his ma.s.sive hands to the wide white belt that was clasped around his waist. From it he drew a long, slightly curved dagger that gleamed like gold. He held it point upward in both hands. Guinn followed his gaze, and saw that it was pointed at a cl.u.s.ter of dark green leaves and white berries on the tree-trunk. The dagger began to move upward toward it.

This, later, was the most inexplicable thing of all to Guinn. For at no time did the man change his position. He did not lose his grasp on the knife; he kept both hands on its hilt. The tree did not move. Yet- The knife went out and up, slowly and steadily. It reached the trunk of the oak, turned and sliced off the clump of glossy green. The man, standing twenty feet away from the tree, had bridged the gap between him and a growth twelve feet from the ground. His arms had not stretched; in no way did he seem out of proportion. In fact, the movement seemed utterly right. Guinn felt that he had seen a movement in a new direction, and that he could not be surprised. He seemed to have known of that direction for a long time but never had bothered to look that way before.

The plant fell. One of the great brown hands was there before it, caught it, laid it on the moss before the knotted feet.

Then the man turned, stood facing outward, away from the tree. Lynn's body turned as he turned, and now she knelt with her back toward him, her arms down, her long slim hands palm-upward on the ground.

Guinn's eyes flicked to the hand holding the knife, to the smooth white back bowed before him. He reached into his left armpit and eased the .32 out.

Shockingly, the chant stopped. The silence was deafening, unbearable. The light was unchanging, muted. There was a great expectancy in the wood.

He looked around the clearing. So compelling had been the tableau by the oak that he hadn't taken in the edges of the scene at all.

The bushes around the depression looked as if they were filled with rhinestones-with emeralds, rubies-with...eyes!

And they were eyes. The low branches held silent birds, their little heads turned sidewise so that one eye could take in the scene. From a tree-fork at his shoulder hung the luxuriously dressed form of a racc.o.o.n, which stared fixedly at the big man. Guinn looked down. What he had thought was a small stump was a fox, not six feet away from him. Its black, wet nose tossed delicate spangles of light as it pressed its head down and forward toward the oak. On the ground in front of it-almost between its paws-was a chipmunk, staring brightly, and holding its deft small hands together in frozen ecstasy.

There was a deep crooning. Guinn looked back at the dark man. He had not moved, but the sound came from him. And Lynn's high, sweet supplement was there too; he could see the flexing of her rib-cage as she drew breath between the mesmeric phrases.

Something moved at the lip of the depression, forty-five degrees across from Guinn's viewpoint, and directly in front of Lynn.

One...no, two big brown rabbits came toward her. They did not hop. They moved belly-down, like stalking cats. It affected Guinn almost more than anything else had. The animals were in the throes of some strange supplication, and their completely uncharacteristic gait caused a deep pain in him somewhere.

They reached the girl, and lay down, one across each of her hands. She lifted them. They drooped, motionless except for their hind legs, which were taut, stiff, quivering in rapid spasm.

Still singing, Lynn rose to her feet and brought the rabbits to the big man. Guinn realized how big he was. Lynn was a tall girl, but her head barely reached the level of the man's heart. The rabbits were large ones-eight- or nine-pound jacks; but both, lying side by side, barely covered the huge dark hand from thumb-base to fingertips.

Holding both rabbits in one hand, the man turned to face the tree again. Lynn was suddenly silent. The man shouted four crackling syllables, and with a single sweep of his golden dagger, sliced off the rabbits' heads.

The muscles of Guinn's jaw crackled audibly. He became conscious of a long-forgotten fact-that his automatic was in his right hand. He raised it, took the barrel in his left, held it while he released the cramped right fingers and flexed them until he felt they could be trusted. Then he grasped the molded grip again, got his index finger under the guard.

The big man was moving now, holding the twitching bodies downward. Dark blood was spouting, and with it he was sprinkling the roots of the tree. As Guinn brought his gun hand up, the man disappeared around the tree.

The huge shadow of the tree moved opposite the light source, sweeping across the clearing like a monstrous hand brushing away flies. And at its touch the animals scattered like flies, an approaching, pa.s.sing, receding wave of squeaks and squawks, whimpers, growls, hoots and rustlings. Behind the pa.s.sing shadow the tree-limbs moved and their leaves fluttered, and the underbrush whipped and thrashed. Before it, the forest was spangled with the gleaming of their fixed eyes.

Then the big man rounded the trunk, still holding the carca.s.ses. Their blood dripped now instead of spurting, and he held them close to the roots and moved slowly.

When his circuit was completed he stopped, dropped the rabbits, and turned toward Lynn, who stood watching him tensely, her lips parted, her head up. And Guinn brought up his gun and fired. He aimed over the man's left shoulder, purposely high.

The man's hand came up in unison with Guinn's. Just behind the crash of Guinn's gun came a distinct thunk! thunk!

And Guinn found himself gaping down at that laughing dark face-laughing so that the leaves shivered-and following the movement of the small object being tossed in the huge hand.

The giant had caught Guinn's bullet not only in his hand, but between his thumb and forefinger.

You're acting like a rube, he snarled at himself. The hand is quicker than the eye-even the private eye. He tightened his grip on himself, on his gun. "Sorry to interrupt," he said into the echoing silence that followed the giant's laughter, "But the lady was with me."

"You interrupted nothing," said the giant pleasantly. "We were quite finished."

"Who are you?" Guinn snapped.

The man looked at him thoughtfully. "You know who I am."

"I do?"

"You do. When you admit that you do, you'll seek me out. Until then..." He made a courtly gesture, a sort of casual salute. Then the light-went out.

Guinn bit his tongue and cursed. The darkness had hit his eyeb.a.l.l.s like a physical blow, and he literally sagged under the impact. He stood in the blackness, shaking, sweating, waiting.

Gradually there was a leaf-torn sky again, the dim presence of tree trunks. Somewhere a mouse squeaked. Overhead he heard the tiny, unlubricated sound of a bat. A breath of wind pa.s.sed, and the forest seemed to exhale quietly.

"Lynn..."

"Yes, I'm here."

"Is he-"

"He's gone." He heard her feet as she left the mossy carpet and crossed dead leaves. She was climbing toward him. He put out his hand. It touched her body; soft, warm, unafraid. His throat was dry and burning and his flesh was cold and clammy. He found her hand and said again, "Are you all right?"

"Oh, yes."

"Where is he?" he whispered. "He must be standing down there."

"He isn't," she said positively. "He's gone."

He peered down into the blackness, and abruptly there was a sort of flow, a warm radiation of comfort and relaxation. There was proportion and reality in the world again. "Yes," he said, surprising himself. "He's gone."

Hand in hand they followed the glow, the mechanical hum of the hospital, which was now visible. "Lynn, what happened?"

"I saw the light," she said quietly. "I went to see. I think I was afraid at first. I thought if I knew what the light was I wouldn't be afraid any more, so I went to look. He was..."

She fell behind as they pa.s.sed between close-set trees, then caught up and took his hand again. "He was-waiting for me. It was as if I knew him, knew what to do...You saw, didn't you?"

"Yes. Lynn, what was it for? Who is he?"

She was silent as they worked their way through the blackness. She was quiet for so long that he squeezed her hand and said, "Well?"

She said, "If you're around somebody a whole lot-your brother or someone you go to school with or something-do you suddenly stop and say 'What's your name?' It was sort of like that. No, I never saw him before. I never did those things before. But it didn't occur to me to ask any questions."

He said, because he wanted to know, "He didn't touch you?"

"Oh, no!"

"I believe," said Guinn, "that two things and two things get you four things. I believe that every effect has a cause, and every reaction is there because of some action." He paused, and then said almost plaintively, "I've got to believe that, Lynn!"

She chuckled. She was certainly not laughing at him. She reached her other hand over and patted his wrist. "Hard guy," she said.

They reached the hedge. Guinn fumbled along it for an opening. He stopped suddenly. "I plumb forgot." He reached inside his jacket and got the nurse's uniform, shook it out. "This won't look like Fifth Avenue," he said apologetically.

"What is-Oh! A dress! Thank you..." She shrugged into it, and as she b.u.t.toned the belt, she said, "I didn't feel naked until you handed me that."

In an obscure way, he felt like apologizing. He didn't. He said, "I didn't feel you were." He turned to the hedge, added, "You suppose I'm getting old?"

"Do you suppose I'm getting brazen?"

It was the right answer. Something was going on here-some shift in perspective, some new element in the atmosphere. "Come on."

They broke through and emerged into the highway some hundred yards below the parked station wagon. They walked silently, each deeply immersed in thought. Lynn spoke once: "Is Garry-"

"He's going to be all right."

"I knew that," she said wonderingly. "I seem to've known that all along. Remember when I got into the car, when he was lying on the seat? I didn't do anything for him. I barely even looked at him. I didn't have to; I knew knew he was all right." he was all right."

Then they reached the car, got in. Guinn found his keys, started the car. They pulled into the highway and moved off toward the town. It wasn't easy to talk against the roar of the unm.u.f.fled exhaust, and they didn't try too hard. Lynn gave him her address, and when they reached the town he found it without trouble. He pulled up in front of it. It was frame house with a vine-covered porch and a picket fence. There was a sign on a post in the lawn that said: .

ROOMS.

TRANSIENT.