might at once realize that evil had robbed him of life, and contaminate her he would not.
However, of her own free will and much to everyone's amazement:
She'd come about an hour ago, driving the family stretch limousine, which she'd hijacked from the driver outside the Mayfair Medical Center where she'd been dying for over two years. (He'd been walking the block, poor unlucky guy, smoking a cigarette, when she'd sped off, and the last image in her mind of him was of his running after her.)
She'd then gone to florist after florist where the Mayfair name was good as gold collecting giant sprays of flowers, or loose bouquets, whatever she could get immediately, and then she'd driven across the twin span as they call the long lake bridge and up to the Blackwood Manor House, stepping out of the car barefoot and wrapped in a gaping hospital gown, a perfect horror-a wobbling skeleton with bruised skin hanging on her bones and a mop of long red hair-and had commandeered Jasmine, Clem, Allen and Nash to take the flowers to Quinn's room, asserting that she had Quinn's permission to heap them all over the four-poster bed. It was a pact. Don't worry.
Scared as they all were, they did as they were told.
After all, everybody knew that Mona Mayfair had been the love of Quinn's life before Quinn's beloved Aunt Queen, world traveler and raconteur, had insisted Quinn go to Europe with her on her "very last trip," which had somehow stretched into three whole years, and Quinn had come home to discover Mona in isolation at Mayfair Medical quite beyond his reach.
Then the Dark Blood had come to Quinn in venality and violence, and another year passed with Mona behind hospital glass, too weak even for a scribbled note or a glance at Quinn's daily gift of flowers and-.
Now back to the anxious passel of attendants who rustled the flowers up to the room.
The emaciated girl herself, and we're talking about twenty years old, that's what I'm calling a girl, could not possibly make it up the circular staircase, so the gallant Nash Penfield, Quinn's old tutor, cast by God to be the perfect gentleman (and responsible for a great deal of Quinn's finishing polish), had carried her up and laid her in her "bower of flowers" as she'd called it, the child assuring him that the roses were thornless, and she had lain back on the four-poster twining broken phrases from Shakespeare with her own, to wit:
"Pray, let me to my bride bed, so bedecked, retire, and let them strew my grave hereafter."
At which point, thirteen-year-old Tommy had appeared in the doorway of the bedroom, and had been so upset by the sight of Mona, in his raw grief for lost Aunt Queen, that he'd begun to shake, and so the amazed Nash had taken him out while Big Ramona had stayed to declare in a stage whisper worthy of the Bard:
"That girl's dying!"
At which the little red-headed Ophelia laughed. What else? And asked for a can of cold diet soda.
Jasmine had thought the child was going to give up the ghost on the spot, which could easily have happened, but the child said No, she was waiting for Quinn, and asked everybody to leave, and when Jasmine had come running back with the cold soda in a bubbly glass with a bent straw, the girl would hardly drink it.
You can live all your life in America without ever seeing a mortal in this condition.
But in the eighteenth century when I was born it was rather common. People starved in the streets of Paris in those days. They died all around you. Same situation prevailed in nineteenth-century New Orleans when the starving Irish began to arrive. You could see many beggars of skin and bone. Now you have to go to "the foreign missions" or to certain hospital wards to see people suffering like Mona Mayfair.
Big Ramona had made a further declaration, that that was the very bed in which her own daughter died (Little Ida), and that it was no bed for a sick child. But Jasmine, her granddaughter, had told her to shush, and Mona had taken to laughing so