"I can see it's going to be a cheerful week," the lieutenant said. "I'll get back to you in a couple of days.

Sooner, if anything new comes up." Michael deposited the receiver on the hook. Logically, Harvey should question him as soon as possible. But the lieutenant was postponing unpleasantries for as long as possible.

Michael couldn't blame him for that.

* He walked up the stairs, pulled down the ladder to the attic and climbed into the musty warmth. Once, sitting in the attic while Waltiri looked through boxes of old letters and memorabilia, Michael had felt as if time had rolled back or even ceased to exist; nothing had changed there for perhaps forty years.

The attic still seemed suspended above the outside flow. He idly opened the drawer of a wooden filing cabinet and leafed through the papers within. So much accumulated within a lifetime... reams of letters, piles of manuscripts and journals and records. .

He pulled out folder after folder, peering inside. Several letters from Arnold Schonberg, dated 1938; he put those aside for later reading. Schonberg had been a composer, Michael remembered; perhaps the letters mentioned the concerto.

Then he found the Stravinsky oratorio manuscript, Stravinsky had composed The Rite of Spring early in the century, and Disney had set the work to dying dinosaurs. Every adolescent knew Stravinsky.

Holding the oratorio was like holding a piece of history. He lightly touched the signature and the accompanying letter, savoring the roughness of the fountain pen scratches.

, the letter was dated. He could almost imagine, outside, a calm bright spring day, the cars parked on the street and in the brick driveways all rounded and quaintly sleek, like the Packard in the garage; silver DC-3s and Lockheed Vegas flying in to Burbank airport, tall palms against the sky, everything more spread out, less crowded, almost sleepy...

Michael looked up from the manuscript with a glazed, distant expression. Before the war. Days of the late Depression, easing now that Roosevelt was rearming the country.

Days of comparative peace before the storm.

Kristine seemed to regard Westwood a the center of the universe. She knew ail the best restaurants there-"best" meaning good food on a slightly more than meager budget - and she had chosen a less crowded one this evening. It was called the Xanadu, which both discomfited and amused Michael. The decor was dark wood paneling inlaid with somewhat oriental, somewhat Art Deco scenes beaten into brass sheets. White silk canopies depended from the ceiling. Its fare was not Chinese food, but nouveau French, and Kristine assured him everything was very good despite the reasonable prices. "The chef here is young," she said. "Just getting started. He'll probably be gone in two or three months; some body else will hire him, and I'll never be able to afford his cooking again." They were seated at a corner table by a waitress dressed in tuxedo.

Kristine gauged his reaction as the waitress wobbled away on high heels. "So it's not consistent," she said, laughing.

"Xanadu's an odd name, isn't it?" he asked. "For a restaurant like this?"

She shrugged. "I suppose they intended it to mean... a pleasurable place, extravagant, not necessarily Chinese."

Michael felt a strong, all-too-adolescent urge to bring up his unusual familiarity with Xanadu, but he resisted. He would not impress Kristine by being any odder than he already was.

"Have you been reading about those hauntings?" she asked.

"Yes. In the papers."

"Aren't they strange? Like the flying saucer waves. Really spooky, though."

He glanced down at the side of his chair, where he had laid the envelope containing the copy of the manuscript. Time to change subjects completely, he decided. He brought it up to table level. "I made a copy," he said.

She glanced at the envelope, obviously aware of the gingerly way he supported it on his fingertips. "How did it come out?"

"You can look for yourself." He handed it to her.

"It's very clean." She pulled it halfway out of the envelope. "I didn't think it would copy nearly that well."

"We're in luck," Michael said.

"Thank you." She riffled the pages, returned it to its envelope with a broad smile and slipped it in her voluminous canvas purse. Her smile changed to concern. "Are you feeling all right tonight?"

He nodded. "I'm a little nervous," he admitted.

"Why? Is it the restaurant?"

"No. What will you do with the manuscript now?"

She shrugged, an odd reaction, as if it all meant very little to her. Then an excited smile broke through her nonchalance, and she rested her arms on the table, leaning forward eagerly. "I'll show it around ^ie department. There are plans for a concert in the summer... July, I think. If we can get it prepared by then, perhaps we can perform it. And I'll show it to Edgar." The waitress returned for their orders, and Michael chose poached halibut. There were no vegetarian dishes on the menu; he felt less uncomfortable eating the flesh of sea-creatures but knew that a Sidhe would abhor even such non-mammalian fare.

Kristine ordered medallions of salmon. The waitress poured their wine, and Michael sipped it cautiously.

He had drunk wine only once before, at the Dopso's house, since his return, and he had reservations about how it might affect him in his present nervous state. He did not want to become even mildly drunk; the very thought bothered him. But the wine was agreeably sweet and light, and its effects were too subtle to be noticeable.

One evening, the soul of wine sang in its bottles...

Baudelaire. Why the line seemed appropriate now, he didn't know.

"I'm starting to have my doubts about this whole thing, about putting on a concert," Michael said, inching back into his chair.

"Why?" Kristine asked, startled. "Aren't you supposed to promote Waltiri's works? Isn't that what an executor does?"

"I'm not precisely an executor, I just manage the estate. I don't know." He opened his mouth to speak again, then shut it and shook his head. "I don't know what in hell I'm doing here. I'm giving you something you can't possibly understand-"

"Now wait a minute," Kristine flared.

He pointed to her bag, with the corner of the envelope sticking out. "When that music was written on the manuscript I made this copy from, the paper was white and pure.^It wasn't soaked in anything between that time and now. It just...aged."

"I don't get you."

"No, and neither does anybody else." He felt his frustration suddenly rise to the surface. "I'm not in an enviable position right now. I'm pulled this way and that."

"How-"

"So-" He held up both hands. "Please. Just listen for a bit. You can say how crazy I am afterward. I know you're an expert on music, maybe even on Waltiri's music, but this is something else."

"I don't understand your doubts. You think-"

Michael's expression stopped her. She folded her arms and leaned back in her chair, glancing nervously at a patron walking past their table.

"You mentioned the hauntings. There's a connection."

"With this?" She dropped her hand to the envelope.

Michael nodded. "I don't know all the details. Even if I did, it wouldn't be worthwhile to tell you. Because you couldn't possibly believe."

"Jesus," she said. "What are you involved in?"

He laughed and looked up at the backlit white canopy overhead.

"That policeman. Is he part of it?"

"Not really. He's like you. And my father. And Bert Cantor."

"Who's Bert Cantor?"

"Somebody who knows. Whom do I tell? And how much? You all live in the real world."

"You don't?"

Michael sighed. "For a time, I didn't. I was missing for five years, Kristine."

Her brows knit. Then she leaned forward. "Because of the concerto?"

"It's part of the... experience. Yes." And I ended up in a much better re-creation of Xanadu than this restaurant - He severely edited what impulse would lead him to say. It was so difficult, wanting to tell the entire story and being constrained by practical considerations - belief, the impact the story might have on how she regarded him, his unease at what might seem self-aggrandizing.

"Okay. I'm listening." There was a look in Kristine's eyes then that only deepened his distress. She was interested. She was positively intrigued. He was something different in her life, and his attitude, his tone of voice, did not reveal him to be a nut or a liar.

Which compounded distress upon distress.

And stopped him cold before he could begin his next sentence. "I'm sorry." His face reddened.

"I said you were mysterious this morning," Kristine reminded him. "I don't know what I meant-"

"Okay," he said. "I'll tell you this much. I have been warned not to do any of this." He gestured toward the manuscript with an open hand. "I don't know by whom. I'm ignoring that warning, but I want you to be aware of the risk we're taking."

"Jesus," she said again, looking down at the table. They were served their salads. "Why didn't you tell me this earlier?"

"Because I'm an idiot." He touched his fork to the salad.

"You are not an idiot," Kristine objected, raising her eyebrows not at him but at her salad plate.

"Then maybe it's because I'm way out of my depth."

She regarded him shrewdly. "Then why are you doing this?"

"Because I find you attractive," Michael said, the editing function somehow completely deactivated.

Kristine didn't react for an uncomfortable number of seconds. "I'm living with someone now," she said.

"I suspected as much."

"I'd like to think we're both interested in the music."

"We both are."

"And I'd like to think you wouldn't use all of this as an excuse, just to see somebody you're attracted to."

"I haven't been. Not entirely."

"How old are you?" Kristine asked. "I mean, really?"

"I don't know," Michael said. "I was gone five years. It didn't seem like five years to me."

"I was thinking you might be older than you said."

"If anything, I'm younger."

"Then I'm really confused." She removed her napkin from her lap and laid it on the tablecloth. "And I'm not very hungry."

"Neither am I."

"You don't want me to do anything with the manuscript, then?"

"On the contrary. I do want you to... take it to the music department, look it over, get it performed. But I think you should be aware there could be trouble."

"Do you always cause trouble for women you're attracted to?"

Her question stunned him. Yes. "Not like this," he answered. "It's not me causing the trouble."

"What I think you're trying to say is, if we play this music again, the same things will happen as happened * in 1939."

"Or something even more important."

"And I could be sued, as Waltiri was sued."

"I don't know about that. That isn't what worries me most."

She seemed absolutely fascinated by the idea. "That would be...interesting. But you're right; I find it all hard to believe."

"And you're only hearing the easy part," Michael said.

Again a pause, as she bit her lower lip and searched his face intently. "Let's talk about how you feel about me..."

"Please. It's embarrassing. I've said too much, and I've said it in all the wrong ways."

"No. I appreciate your honesty. You are being honest; that much is obvious. And you're not crazy. Believe me, I've gone out with enough crazy men..." She gazed off into the middle distance. "I like you, but there is this... situation."

"We shouldn't waste the food," Michael said.

"No." She picked up her fork, replaced her napkin and speared a leaf of lettuce from her salad plate.

"I mentioned the Mahler letters to Gregory Dillman. He's our department expert on Mahler and Strauss and Wagner. He's fascinated - says that none of the letters have ever been published, which is obvious, I suppose."

"Yes," Michael said.

"He's advising a fellow named Berthold Crooke on his orchestration of Mahler's Tenth Symphony."