worry you, okay? Itâs just a little trick, like putting your finger under your nose to stop a sneeze or thumping your forehead when youâre trying to remember someoneâs name. Okay?â
âSure, I guess,â she says, totally mystified.
Pete closes his eyes, raises one loosely fisted hand in front of his face, then pops up his index finger. He begins to tick it back and forth in front of him.
Trish looks at Cathy, the counter-girl. Cathy shrugs as if to say Who knows?
âMr. Moore?â Trish sounds uneasy now. âMr. Moore, maybe I just ought toââ
Pete opens his eyes, takes a deep breath, and drops his hand. He looks past her, to the door.
âOkay,â he says. âSo you came in . . .â His eyes move as if watching her come in. âAnd you went to the counter . . .â His eyes go there. âYou asked, probably, âWhich aisleâs the aspirin in?â Something like that.â
âYes, Iââ
âOnly you got something, too.â He can see it on the candy-rack, a bright yellow mark something like a handprint. âSnickers bar?â
âMounds.â Her brown eyes are wide. âHow did you know that?â
âYou got the candy, then you went up to get the aspirin . . .â Heâs looking up Aisle 2 now. âAfter that you paid and went out . . . letâs go outside a minute. Seeya, Cathy.â
Cathy only nods, looking at him with wide eyes.
Pete walks outside, ignoring the tinkle of the bell,ignoring the rain, which now really is rain. The yellow is on the sidewalk, but fading. The rainâs washing it away. Still, he can see it and it pleases him to see it. That feeling of click. Sweet. Itâs the line. It has been a long time since heâs seen it so clearly.
âBack to your car,â he says, talking to himself now. âBack to take a couple of your aspirin with your water . . .â
He crosses the sidewalk, slowly, to the Taurus. The woman walks behind him, eyes more worried than ever now. Almost frightened.
âYou opened the door. Youâve got your purse . . . your keys . . . your aspirin . . . your candy . . . all this stuff . . . juggling it around from hand to hand . . . and thatâs when . . .â
He bends, fishes in the water flowing along the gutter, hand in it all the way up to the wrist, and brings something up. He gives it a magicianâs flourish. Keys flash silver in the dull day.
â. . . you dropped your keys.â
She doesnât take them at first. She only gapes at him, as if he has performed an act of witchcraft (war-lock-craft, in his case, maybe) before her eyes.
âGo on,â he says, smile fading a little. âTake them. It wasnât anything too spooky, you know. Mostly just deduction. Iâm good at stuff like that. Hey, you should have me in the car sometime when youâre lost. Iâm great at getting unlost.â
She takes the keys, then. Quickly, being careful not to touch his fingers, and he knows right then that she isnât going to meet him later. It doesnât take anyspecial gift to figure that; he only has to look in her eyes, which are more frightened than grateful.
âThank . . . thank you,â she says. All at once sheâs measuring the space between them, not wanting him to use too much of it up.
âNot a problem. Now donât forget. The West Wharf, at five-thirty. Best fried clams in this part of the state.â Keeping up the fiction. You have to keep it up, sometimes, no matter how you feel. And although some of the joy has gone out of the afternoon, some is still there; he has seen the line, and that always makes him feel good. Itâs a minor trick, but itâs nice to know itâs still there.
âFive-thirty,â she echoes, but as she opens her car door, the