False Memory

deliberate movements of anyone in a trance.
    Sitting on the edge of the bed, as she drew the white cotton panties up her slender legs, Susan suddenly bent forward as though she’d taken a blow in the solar plexus, breath exploding from her. She inhaled with a shudder, and then spat in disgust and horror, saliva glistening like snail trails on her thighs, and spat again, as though she were desperate to rid herself of an intolerable taste. Spitting led to gagging, and between these wretched sounds were two words that she wrenched from herself at great cost—”Daddy, why, Daddy, why?”—because although she no longer believed that she was twelve years old, she remained convinced that her beloved father had brutally raped her.
    To the doctor, this final unexpected spasm of grief and shame was lagniappe, a little dinner mint of suffering, a chocolate truffle after cognac. He stood before her, breathing deeply of the faint but astringent, briny fragrance arising from her cascade of tears.
    When he placed a hand paternally upon her head, Susan flinched from his touch, and Daddy, why? deteriorated into a soft and wordless wail. This muffled ululation reminded him of the eerie puling of distant coyotes in a warm desert night even farther in the past than Minette Luckland impaled on the spear of Diana out there in Scottsdale, Arizona.
    Just beyond the glow of Santa Fe, New Mexico, lies a horse ranch: a fine adobe house, stables, riding rings, fenced meadows mottled with sweet bunchgrass, all surrounded by chaparral in which rabbits tremble by the thousands and coyotes hunt at night in packs. One summer evening two decades before anyone has yet begun to ponder the approaching dawn of a new millennium, the rancher’s lovely wife, Fiona Pastore, answers the phone and listens to three lines of haiku, a poem by Buson. She knows the doctor socially—and also because her ten-year-old son, Dion, is his patient, whom he has been endeavoring to cure of a severe stutter On a score of occasions, Fiona has engaged in sex with the doctor, often of such depravity that she has suffered bouts of depression afterward, even though all memory of their trysts has been scrubbed from her mind. She poses no danger to the doctor, but he is finished with her physically and is ready now to proceed to the final phase of their relationship.
    Remotely activated by haiku, Fiona receives her fatal instructions without protest, proceeds directly to her husband's study, and writes a brief but poignant suicide note accusing her innocent spouse of an imaginative list of atrocities. Note finished, she unlocks a gun cabinet in the same room and removes a six-shot .45 Colt built on a Seville frame, which is a lot of gun for a woman only five feet four, 110 pounds, but she can handle it. She is a girl of the Southwest, born and raised; she has shot at game and targets for more than half her thirty years. She loads the piece with 325-grain, .44 Keith bullets and proceeds to her son's bedroom.
    Dion's window is open for ventilation, screened against desert insects, and when Fiona switches on a lamp, the doctor is afforded the equivalent of a fifty-yard-line view. Ordinarily, he is unable to be present during these episodes of ultimate control, because he does not wish to risk incriminating himself— although he has friends in places high enough to all but ensure his exoneration. This time, however, circumstances are idea/for his attendance, and he is unable to resist. The ranch, although not isolated, is reasonably remote. The ranch manager and his wife, both employees of the Pastores, are on vacation, visiting family in Pecos, Texas, during the lively annual cantaloupe festival, and the other three ranch hands do not live on site. Ahriman placed his call to Fiona from a car phone, only a quarter of a mile from the house, whereafter he traveled on foot to Dion's window, arriving only a minute before the woman entered the bedroom and clicked on the lamp.
    The sleeping boy never wakes, which is a disappointment to the doctor, who almost speaks through the fine-mesh screen, like a priest assigning penance in a confessional, to instruct Fiona to rouse her son. He hesitates, and she does not, dispatching the dreaming child with two rounds. The husband, Bernardo, arrives at a run, shouting in alarm, and his wife squeezes off another pair of shots. He is lean and tan, one of those weather-beaten Westerners whose sun-cured skin and heat-tempered bones give them an air of