it was a macabre joke and they were famous for hating each other. Anyway, there they are, posed like Heathcliff and Catherine, post-mortem. Only Wuthering Heights hadn't come out yet."
"And?"
"And nothing. It just means no one was emulating Emily Brontë."
"Same with Auguste Rodin. ‘The Kiss' was a century later. But what about Dante? The Divine Comedy was written five centuries before the murders took place."
"That's stretching it, Morgan. Our culture-conscious killer would never count on someone getting the connection, and certainly not cops." Miranda found the notion that police don't read, listen to music, enjoy art, attend theatre, or cook like gourmands extremely irksome. It did not bother Morgan. "Maybe the way they're posed is not an allusion to anything, just inspired depravity."
"Inspired depravity!"
"I sort of feel guilty they've been disturbed," she said. "Don't you?"
"Not really. They've been locked out of time; now they're back in."
"That's very profound, and sad."
"Let's say the former and call it a night."
"G'night, Morgan."
"Phone if you work it all out. If you see Jill, give her my love. And thanks for the ride."
She waited until he unlocked his front door, which years ago he had lovingly painted with fourteen coats of midnight blue. It gleamed a putrescent brown in the reflected light of the city at dawn. Miranda shuddered and drove off, giving a reckless beep on the horn. She was suddenly so exhausted she could hardly guide the car through the ruts, and she concentrated on the promise of a warm bed with fresh flannel sheets.
Morgan closed the door. He was thinking about Rodin's sculpture. While he got ready for bed he pondered the problem, if it could be considered a problem. How can there be such discrepancy between an artist's intent and the accepted response to his art?
As he lingered in front of the bathroom mirror, he envisioned "The Kiss" in its various manifestations: plaster and terra cotta and marble and bronze. An image of the desiccated corpses in Hogg's Hollow intruded but was displaced by the full-size plaster maquette he had seen with Miranda while they were playing hooky from work at the ROM. It was a ghostly white apparition in a room full of chalky anatomical figures on their way to more permanent representation in metal and stone. A ghost among ghosts.
Catching sight of himself reflected amid the images shunting through his mind, he relaxed and briefly attended to the mundane necessities of brushing his teeth and washing. He lifted his pyjamas, black moose strolling on a red background, from a hook on the back of the bathroom door and walked stark naked up to his bedroom where he stood, shivering, lost again in contemplation.
He was so tired, nothing made sense, and after becoming thoroughly chilled he put on his pyjamas and climbed into bed. He curled around himself and breathed deeply, lifting the covers for a moment to let a defining burst of cold air penetrate his cocoon, then he sealed them snugly around his shoulders and almost immediately drifted into a deep slumber.
Morgan awakened to the insistent ring of the telephone. He picked up the receiver on the night table but there was only a dial tone. Maybe he had dreamed it was ringing. Light rising from the window downstairs indicated it was mid-morning, but he was not interested in getting up.
He rolled over on his back without looking at his watch or the alarm clock on the dresser and drew the covers close. He had tried an eider-down duvet someone once gave him, but preferred the weight of thick wool blankets, which seemed to modulate their proffered warmth according to his needs, rather than smothering him with the indifference of feathers. Snug, breathing the cool air of the room, he tried to reconstruct his last dream.
Inevitably, it evaded coherence. There were images of wizened corpses entwined as intimately as their clothing allowed, of skulls with their features contorted into the tight grimace of mockery at the fears of the living, of plaster and bronze torsos and severed limbs, of flesh mounded and shapeless, waiting to be formed into bodies. There was a diorama contrived at Hogg's Hollow with meticulous care to convey mystery, and a confusion of intent and response. There were intimations of genius, and no question about murder. Heathcliff, Rodin, romantic love, death…
"What are you thinking about, David? Where is this going?"
Corpses beheaded, enclosed in an airless crypt, the death of romance. He said nothing.
"Turning death into metaphor isn't murder, David. Perhaps murder preceded, but the display is romantic. Don't you see? Get rid of the heads, let the bodies embrace. It is passion over reason, David, as it should be."
His wife was leaning across a kitchen table, challenging him. He had not seen her in a dozen years and they had been divorced even longer. He knew he was in a dream. He felt defensive. He roused himself, trying to wake up.
"Stay here, my darling. Don't leave me. We can work this out together."
He stifled an answer, refusing to give her presence validity.
"Don't you love me? Do you love me?"
He had no answer.
"Talk to me, David. Tell me about loving forever. Show me the perfect kiss. How delightful, David — an eternal instant. How abysmally sad."
He tried to find her eyes, but they were empty sockets. Her lips were tightly clenched but the voice was clear and unnervingly familiar.
"Two heads, David, kissing forever. It's all in the head. Reason over passion, don't you see? Drop two heads down a chute, no telling what they'll be up to, perpetually falling. Didn't you ever wonder about heads in the guillotine basket? Between decapitation and the end of consciousness, did they exchange glances? What secrets and jokes passed among them, David?
"Was that our problem, David? Minds and bodies didn't come together? We couldn't tell secrets from jokes!"
Morgan spoke at last and his voice was like thunder.
"I do not love you, Lucy…."
The sound of his words resounding through the loft awakened him. He rolled over and stared at the ceiling, inconsolably lonely.
Thoughts gathered of the ring and the crucifix and gradually filled the emptiness. Did the conjunction of such potent talismans lead to death, or was death merely the prelude to staging the scene in anticipation of eventual discovery? What variables were manipulated for our benefit, he wondered, and what for the author's own? And what were the gratuitous contributions of history, of time passing? He could have no way of knowing our ways of seeing, so far in the future.
Morgan tried to reconstruct the character of the killer. That seemed the key to understanding his crime. It would have taken considerable strength to manhandle the corpses, even if they had been killed and prepared on the premises, which seemed probable. He would have had to understand something of carpentry and plastering. It's unlikely a woman of the day would have known these things, but an observant male might be familiar with the procedures without himself being in a trade.
Given the killer's morbid imagination, combined with meticulous patience and sanguinary determination, he must have been fairly mature — most likely a British immigrant, as were most of his neighbours — and literate. He would have grown
