The Silent Fountain. Victoria Fox
because of the girl we let go before you,’ says Adalina. ‘She did not heed my advice and Signora had no choice but to dismiss her.’
‘Will I meet her?’ I ask, and it hits me then that no one has told me her name. She. Her. Signora. The woman of the house…
‘Soon.’ Adalina’s gaze flits away. ‘For now I will show you your quarters.’
*
The Lilac Room, as it turns out, isn’t lilac at all. It is painted cream, with high, corniced ceilings and a four-poster bed swathed in thick red fabric. Crudely painted olive trees adorn one wall, just above the skirting, drawn, I’d wager, by a child.
Adalina wasn’t lying when she described this as my quarters, for, like the rest of the Barbarossa, it’s extensive. There is an adjoining bathroom, a little rundown but I’m not about to complain (I don’t relish the thought of getting lost out there in the middle of the night in pursuit of the loo), a writing desk, a couple of armchairs by a handsome fireplace (a peep up the flue tells me it’s long been blocked) and a mahogany wardrobe several times the size of the one Bill and I share back in London. Below the window, whose panes reach to twice my height, is an embroidered chaise.
Alone now, I can appreciate the full spread of the estate. Once upon a time the lawns would have been neatly landscaped, descending in tiers separated by stone to a pink- and peach-strewn rose garden, but the steps now leak into each other, the walls peeling and draped in vines, the grass overgrown. Beyond the roses, light catches on glass, where an old greenhouse is bursting with plants, and etched into a screen of brick I detect the subtle outline of a door. It reminds me of a book I read as a child, or maybe Mum read it to me, because the memory is accompanied by the mellow tang of cloves, but then I realise the window is ajar and it could just as easily be the cluster of herbs whose scent swims in on the breeze. I want to step outside and go towards that door and turn the rusted key. You will know if you trespass.
Further still, the lemon groves and the track I came in on, and, to the west, where the sun is gently setting and flooding the sky with orange and gold, there is a pergola, majestic on its mound of grass, as perfect as the curve on a paperweight. Against the bloodshot sky, twin swifts dip and dive their dusk-hour acrobatics.
There is one thing I’m omitting from this view, the thing I came past earlier and that I’m reluctant even now to acknowledge. The fountain by the entrance, set amid a dozen cypress trees, appears gloomier now the sun has fallen. I don’t know why it’s such a horrible thing. The protruding shape I detected earlier is an ugly stone fish, eyes bloated, scales crusted, its open mouth gasping air, fossilised mid-leap as if cast under a terrible spell. The trees don’t help either, standing guard, their spears raised – and perhaps that’s all it is, the notion that there is something cosseted within that requires protection, something beyond the decaying stone and stagnant water…
I turn away and fumble in my bag for my phone. There is a message from Bill, asking if I got here OK, but I must have picked it up in the city and then gone out of signal, for there’s no reception here at all. The thought of asking after Wi-Fi is anachronistic. Back at home, I’d have panicked at being off radar, but here it seems natural. Nobody except Bill knows where I am. Nobody can find me. I think of the bomb waiting to detonate in London – Natasha triumphantly handing my name to whoever’s interested, whoever wants to destroy it – and it seems impossibly far away.
Only when I lie on the bed and close my eyes does it occur to me that no contact means no him. What if he needs me? What if he has to get in touch, and can’t? I reassure myself with a plan to get connected in the city: soon, soon.
In the meantime, there is a pinch of pleasure in the thought, however unlikely, that he might be trying to reach me, that he might be the one seeking me out, instead of my repeatedly glimpsing a screen that gives me nothing. For once, I’m unavailable.
I’m gone. Nobody can catch me.
In minutes, I’m asleep.
‘Vivien?’
The maid knocks gently then steps inside. It’s rare that Adalina addresses her by her name, and Vivien knows it is because they are about to share a confidence.
‘What is she like?’ Vivien asks. It isn’t what she really wants to ask, but she cannot ask that yet. It will seem too desperate, too close to the bone.
‘As we expected,’ says Adalina. ‘She’ll be fine.’
‘You told her…?’ Vivien glances away. ‘How much did you tell her?’
‘I told her nothing.’
Vivien exhales. Adalina lays down a supper tray, soup and crackers, a bunch of grapes the colour of bruises, but she has no appetite.
‘Are you all right, signora?’
‘I saw her from the window,’ Vivien says, daring to meet Adalina’s eye, wanting to know if the maid has seen it too. But Adalina gives nothing away.
‘Do you think she looks like…?’ Vivien swallows. She cannot say the name. ‘I saw her and I thought what a remarkable resemblance she has to—’
‘She’s dark. That is where it ends,’ says Adalina.
‘But her height, her build, everything – it’s everything.’
‘Not at all.’ Adalina protests, unwilling to give her charge any scope for indulgence. Vivien notices this, and seizes it as proof of her agreement.
‘You can’t deny it.’
‘I can. Up close she is entirely different.’
‘It was like seeing her again.’ The ‘her’ is spat like venom. It’s been years – years – but the poison remains. She cannot get her mouth around it, the taste bitter, too horrible, too immediate, all that hate multiplying inside her with nowhere to go.
‘Then you must meet the girl,’ says Adalina. ‘I will arrange it.’
‘I cannot have her living here if you are wrong.’ Vivien is trembling, her voice skittish, her heart leaden. Get control of yourself, she thinks, aware the resemblance the girl has is impossible, a trick of her mind, but the uncanny is all around, in the windows, in the water, in shadows and reflections, and she would not put it past the house to test her in this way. Vivien has heard the noises late at night, the creak of a floorboard, the slam of a door, the howl of the wind so like a woman’s scream…
‘You must eat,’ says Adalina. The pills come out, the tray set down.
Without warning, Vivien takes her hand. Adalina is surprised.
‘It isn’t her, is it?’ she asks in a strange, disembodied voice.
‘Of course not, signora.’
‘That would be impossible.’
‘Absolutely.’
‘She wouldn’t come back for me, would she?’
Adalina is frightened now.
‘Never,’ she rasps.
‘She wouldn’t dare.’
‘No, she wouldn’t dare.’
Vivien releases her grasp. Adalina fills a water glass, as if nothing has happened. Sometimes, the maid stays to help with supper. Tonight, she leaves.
Vivien, Los Angeles, 1976
In years to come, Vivien Lockhart would look back on the night that her world began: on the point at which her journey was set. Four years since she had