J. G. Ballard - Cry Hope, Cry Fury!

Again last night, as the dusk air moved across the desert from Vermilion Sands, I saw the faint shiver of rigging among the reefs, a topmast moving like a silver lantern through the rock spires. Watching from the veranda of my beach-house, I followed its course towards the open sand-sea, and saw the spectral sails of this spectral ship. Each evening I had seen the same yacht, this midnight schooner that slipped its secret moorings and rolled across the painted sea. Last night a second yacht set off in pursuit from its hiding place among the reefs, at its helm a palehaired steerswoman with the eyes of a sad Medea. As the two yachts fled across the sand-sea I remembered when I had first met Hope Cunard, and her strange affair with the Dutchman, Charles Rademaeker Every summer during the season at Vermilion Sands, when the town was full of tourists and avant-garde film companies, I would close my office and take one of the beach-houses by the sand-sea five miles away at Ciraquito. Here the long evenings made brilliant sunsets of the sky and desert, crossing the sails of the sand-yachts with hieroglyphic shadows, signatures of all the strange ciphers of the desert sea. During the day I would take my yacht, a Bermuda-rigged sloop, and sail towards the dunes of the open desert. The strong thermals swept me along on a wake of gilded sand.

Hunting for rays, I sometimes found myself carried miles across the desert, beyond sight of the coastal reefs that presided like eroded deities over the hierarchies of sand and wind. I would drive on after a fleeing school of rays, firing the darts into the overheated air and losing myself in an abstract landscape composed of the flying rays, the undulating dunes and the triangles of the sails. Out of these materials, the barest geometry of time and space, came the bizarre figures of Hope Cunard and her retinue, like illusions born of that sea of dreams.

One morning I set out early to hunt down a school of white sand-rays I had seen far across the desert the previous day. For hours I moved over the firm sand, avoiding the sails of other yachtsmen, my only destination the horizon. By noon I was beyond sight of any landmarks, but I had found the white rays and sped after them through the rising dunes. The twenty rays flew on ahead, as if leading me to some unseen destination.

The dunes gave way to a series of walled plains crossed by quartz veins.

Skirting a wide ravine whose ornamented mouth gaped like the door of a half-submerged cathedral, I felt the yacht slide to one side, a puncture in its starboard tyre. The air seemed to gild itself around me as I lowered the sail.

Kicking the flaccid tyre, I took stock of the landscape - submerged sand-reefs, an ocean of dunes, and the shell of an abandoned yacht half a mile away near the jagged mouth of a quartz vein that glittered at me like the jaws of a jewelled crocodile. I was twenty miles from the coast and my only supplies were a vacuum flask of iced Martini in the sail locker.

The rays, directed by some mysterious reflex, had also paused, settling on the crest of a nearby dune. Arming myself with the spear-gun, I set off towards the wreck, hoping to find a pump in its locker.

The sand was like powdered glass. Six hundred yards further on, when the raffia soles had been cut from my shoes, I turned back. Rather than exhaust myself, I decided to rest in the shade of the mainsail and walk back to Ciraquito when darkness came. Behind me, my feet left bloody prints in the sand.

I was sitting against the mast, bathing my torn feet in the cold Martini, when a large white ray appeared in the air overhead. Detaching itself from the others, who sat quietly on a distant crest, it had come back to inspect me. With wings fully eight feet wide, and a body as large as a man's, it flew monotonously around me as I sipped at the last of the lukewarm Martini. Despite its curiosity, the creature showed no signs of wanting to attack me.

Ten minutes later, when it still circled overhead, I took the spear-gun from the locker and shot it through its left eye. Transfixed by the steel bolt, its crashing form drove downwards into the sail, tearing it from the mast, and plunged through the rigging on to the deck. Its wing struck my head like a blow from the sky.

For hours I lay in the empty sand-sea, burned by the air, the giant ray my dead companion. Time seemed suspended at an unchanging noon, the sky full of mock suns, but it was probably in the early afternoon when I felt an immense shadow fall across the yacht. I lifted myself over the corpse beside me as a huge sand-schooner, its silver bowsprit as long as my own craft, moved through the sand on its white tyres. Their faces hidden by their dark glasses, the crew watched me from the helm.

Standing with one hand on the cabin rail, the brass portholes forming haloes at her feet, was a tall, narrow-hipped woman with blonde hair so pale she immediately reminded me of the Ancient Mariner's Nightmare Life-in-Death. Her eyes gazed at me like dark magnolias. Lifted by the wind, her opal hair, like antique silver, made a chasuble of the air.

Unsure whether this strange craft and its crew were an apparition, I raised the empty Martini flask to the woman. She looked down at me with eyes crossed by disappointment. Two members of the crew ran over to me. As they pulled the body of the sand-ray off my legs I stared at their faces. Although smooth-shaven and sunburnt, they resembled masks.

This was my rescue by Hope Cunard. Resting in the cabin below, while one of the crew wrapped the wounds on my feet, I could see her pale-haired figure through the glass roof. Her preoccupied face gazed across the desert as if searching for some far more important quarry than myself.

She came into the cabin half an hour later. She sat down on the bunk at my feet, touching the white plaster with a curious hand.

'Robert Melville - are you a poet? You were talking about the Ancient Mariner when we found you.'

I gestured vaguely. 'It was a joke. On myself.' I could hardly tell this remote but beautiful young woman that I had first seen her as Coleridge's nightmare witch, and added: 'I killed a sand-ray that was circling my yacht.'

She played with the jade pendants lying in emerald pools in the folds of her white dress. Her eyes presided over her pensive face like troubled birds. Apparently taking my reference to the Mariner with complete seriousness, she said: 'You can rest at Lizard Key until you're better. My brother will mend your yacht for you. I'm sorry about the rays they mistook you for someone else.'

As she sat there, staring through the porthole, the great schooner swept silently over the jewelled sand, the white rays moving a few feet above the ground in our wake. Later I realized that they had brought back the wrong prey for their mistress.

Within two hours we reached Lizard Key where I was to stay for the next three weeks. Rising out of the thermal rollers, the island seemed to float upon the air, the villa with its terrace and jetty barely visible in the haze. Surrounded on three sides by the tall minarets of the sand-reefs, both villa and island had sprung from some mineral fantasy of the desert. Rock spires rose beside the pathway to the villa like cypresses, pieces of wild sculpture growing around them.

'When my father first found the island it was full of gila monsters and basilisks,' Hope explained as I was helped up the pathway. 'We come here every summer now to sail and paint.'

At the terrace we were greeted by the two other tenants of this private paradise - Hope Cunard's half-brother, Foyle, a young man with white hair brushed forward over his forehead, a heavy mouth and pocked cheeks, who stared down at me from the balcony like some moody beach Hamlet; and Hope's secretary, Barbara Quimby, a plain-faced sphinx in a black bikini with bored eyes like two-way mirrors.

Together they watched me being brought up the steps behind Hope. The look of expectancy on their faces changed to polite indifference the moment I was introduced. Almost before Hope could finish describing my rescue they wandered off to the beach-chairs at the end of the terrace.

During the next few days, as I lay on a divan near by, I had more time to examine this strange menage. Despite their dependence upon Hope, who had inherited the island villa from her father, their attitude seemed to be that of palace conspirators, with their private humour and secret glances. Hope, however, was unaware of these snide asides. Like the atmosphere within the villa itself, her personality lacked all focus and her real attention was elsewhere.

Whom had Foyle and Barbara Quimby expected Hope to bring back? What navigator of the sand-sea was Hope Cunard searching for in her schooner with her flock of white rays? To begin with I saw little of her, though now and then she would stand on the roof of her studio and feed the rays that flew across to her from their eyries in the rock spires. Each morning she sailed off in the schooner, her opal-haired figure with its melancholy gaze scanning the desert sea. The afternoons she spent alone in her studio, working on her paintings. She made no effort to show me any of her work, but in the evenings, as the four of us had dinner together, she would stare at me over her liqueur as if seeing my profile within one of her paintings.

'Shall I do a portrait of you, Robert?' she asked one morning. 'I see you as the Ancient Mariner, with a white ray around your neck.'

I covered the plaster on my feet with the dragon-gold dressing gown - left behind, I assumed, by one of her lovers. 'Hope, you're making a myth out of me. I'm sorry I killed one of your rays, but believe me, I did it without thinking.'

'So did the Mariner.' She moved around me, one hand on hip, the other touching my lips and chin as if feeling the contours of some antique statue. 'I'll do a portrait of you reading Maldoror.'

The previous evening I had treated them to an extended defence of the surrealists, showing off for Hope and ignoring Foyle's bored eyes as he lounged on his heavy elbows. Hope had listened closely, as if unsure of my real identity.

As I looked at the empty surface of the fresh canvas she ordered to be brought down from her studio, I wondered what image of me would emerge from its blank pigments. Like all paintings produced at Vermilion Sands at that time, it would not actually need the exercise of the painter's hand. Once the pigments had been selected, the photosensitive paint would produce an image of whatever still life or landscape it was exposed to. Although a lengthy process, requiring an exposure of at least four or five days, it had the immense advantage that there was no need for the subject's continuous presence. Given a few hours each day, the photosensitive pigments would anneal themselves into the contours of a likeness.

This discontinuity was responsible for the entire charm and magic of these paintings. Instead of a mere photographic replica, the movements of the sitter produced a series of multiple projections, perhaps with the analytic forms of cubism, or, less severely, a pleasant impressionistic blurring. However, these unpredictable variations on the face and form of the sitter were often disconcerting in their perception of character. The running of outlines, or separation of tonalities, could reveal tell-tale lines in the texture of skin and features, or generate strange swirls in the sitter's eyes like the epileptic spirals in the last demented landscapes of Van Gogh. These unfortunate effects were all too easily reinforced by any nervous or anticipatory movements of the sitter.

The likelihood that my own portrait would reveal more of my feelings for Hope than I cared to admit occurred to me as the canvas was set up in the library. I lay back stiffly on the sofa, waiting for the painting to be exposed, when Hope's halfbrother appeared, a second canvas between his outstretched hands.

'My dear sister, you've always refused to sit for me.' When Hope started to protest Foyle brushed her aside. 'Melville, do you realize that she's never sat for a portrait in her life! Why, Hope? Don't tell me you're frightened of the canvas? Let's see you at last in your true guise.'

'Guise?' Hope looked up at him with wary eyes. 'What are you playing at, Foyle? That canvas isn't a witch's mirror.'

'Of course not, Hope.' Foyle smiled at her. 'All it can tell is the truth. Don't you agree, Barbara?'

Her eyes hidden behind her dark glasses, Miss Quimby nodded promptly. 'Absolutely. Miss Cunard, it will be fascinating to see what comes out. I'm sure you'll be very beautiful.'

'Beautiful?' Hope stared down at the canvas resting at Foyle's feet. For the first time she seemed to be making a conscious effort to take command of herself and the villa at Lizard Key. Then, accepting Foyle's challenge, and refusing to be outfaced by his broken-lipped sneer, she said: 'All right, Foyle. I'll sit for you. My first portrait - you may be surprised what it sees in me.'

Little did we realize what nightmare fish would swim to the surface of these mirrors.

During the next few days our portraits emerged like pale ghosts from the paintings. Each afternoon I would see Hope in the library, when she would sit for her portrait and listen to me reading from Maldoror, but already she was only interested in watching the deserted sand-sea. Once, when she was away, sailing the empty dunes with her white rays, I hobbled up to her studio. There I found a dozen of her paintings mounted on trestles in the windows, looking out on the desert below. Sentinels watching for Hope's phantom mariner, they revealed in monotonous detail the contours and texture of the empty landscape.

By comparison, the two portraits developing in the library were far more interesting. As always, they recapitulated in reverse, like some bizarre embryo, a complete phylogeny of modern art, a regression through the principal schools of the twentieth century. After the first liquid ripples and motion of a kinetic phase, they stabilized into the block colours of the hardedge school, and from there, as a thousand arteries of colour irrigated the canvas, into a brilliant replica of Jackson Pollock. These coalesced into the crude forms of late Picasso, in which Hope appeared as a Junoesque madonna with massive shoulders and concrete face, and then through surrealist fantasies of anatomy into the multiple outlines of futurism and cubism. Ultimately an impressionist period emerged, lasting a few hours, a roseate sea of powdery light in which we seemed like a placid domestic couple in the suburban bowers of Monet and Renoir.

Watching this reverse evolution, I hoped for something in the style of Gainsborough or Reynolds, a standing portrait of Hope wearing floral scarlet under an azure sky, a pale-skinned English beauty in the grounds of her county house.

Instead, we plunged backwards into the netherworld of Balthus and Gustave Moreau.

As the bizarre outlines of my own figure emerged I was too surprised to notice the equally strange elements in Hope's portrait. At first glance the painting had produced a faithful if stylized likeness of myself seated on the sofa, but by some subtle emphasis of design the scene was totally transformed. The purple curtain draped behind the sofa resembled an immense velvet sail, collapsed against the deck of a becalmed ship, while the spiral bolster emerged as an ornamental prow. Most striking of all, the white lace cushions I lay against appeared as the plumage of an enormous sea-bird, hung around my shoulders like the anchor fallen from the sky. My own expression, of bitter pathos, completed the identification.

'The Ancient Mariner again,' Hope said, weighing my copy of Maldoror in her hand as she sauntered around the canvas. 'Fate seems to have type-cast you, Robert. Still, that's the role I've always seen you in.'

'Better than the Flying Dutchman, Hope?'

She turned sharply, a nervous tic in one corner of her mouth. 'Why did you say that?'

'Hope, who are you looking for? I may have come across him.'

She walked away from me to the window. At the far end of the terrace Foyle was playing some rough game with the sandrays, knocking them from the air with his heavy hands and then pitching them out over the rock spires. The long stings whipped at his pock-marked face.

'Hope...' I went over to her. 'Perhaps it's time I left. There's no point in my staying here. They've repaired the yacht.' I pointed to the sloop moored against the quay, fresh tyres on its wheels. 'Besides..

'No! Robert, you're still reading Maldoror.' Hope gazed at me with her over-large eyes, carrying out this microscopy of my face as if waiting for some absent element in my character to materialize.

For an hour I read to her, more as a gesture to calm her. For some reason she kept searching the painting which bore my veiled likeness as the Mariner, as if this image concealed some other sailor of the sand-sea.

When she had gone, hunting across the dunes in her schooner, I went over to her own portrait. It was then that I realized that yet another intruder had appeared in this house of illusions.

The portrait showed Hope in a conventional pose, seated like any heiress on a brocaded chair. The eye was drawn to her opal hair lying like a soft harp on her strong shoulders, and to her firm mouth with its slight reflective dip at the corners. What Hope and I had not noticed was the presence of a second figure in the painting. Standing against the skyline on the terrace behind Hope was the image of a man in a white jacket, his head lowered to reveal the bony plates of his forehead. The watery outline of his figure - the hands hanging at his sides were pale smudges gave him the appearance of a man emerging from a drowned sea, strewn with blanched weeds and algae.

Astonished by this spectre materializing in the background of the painting, I waited until the next morning to see if it was some aberration of light and pigment. But the figure was there even more strongly, the bony features emerging through the impasto. The isolated eyes cast their dark gaze across the room. As I read to Hope after lunch I waited for her to comment on this strange intruder. Someone, plainly not her half-brother, was spending at least an hour each day before the canvas in order to imprint his image on its surface.

As Hope stood up to leave, the man's pensive face with its fixed eyes caught her attention. 'Robert - you have some kind of wild magic! You're there again!'

But I knew the man was not myself. The white jacket, the bony forehead and hard mouth were signatures of a separate subject. After Hope left to walk along the beach I went up to her studio and examined the canvases that kept watch for her on the landscape.

Sure enough, in the two paintings that faced the reefs to the south I found the mast of a waiting ship half-concealed among the sand-bars.

Each morning the figure emerged more clearly, its watching eyes seeming to come nearer, One evening, before going to bed, I locked the windows on to the terrace and draped a curtain over the painting. At midnight I heard something move along the terrace, and found the library windows swinging in the cold air, the curtain drawn back from Hope's portrait. In the painting the man's strong but melancholy face glared down at me with an almost spectral intensity. I ran on to the terrace. Through the powdery light a man's muffled figure moved with firm steps along the beach. The white rays revolved in the dim air over his head.

Five minutes later the white-haired figure of Foyle slouched from the darkness. His thick mouth moved in a grimace of morose humour as he shuffled past. On his black silk slippers there were no traces of sand.

Shortly before dawn I stood in the library, staring back at the watching eyes of this phantom visitor who came each night to keep his vigil by Hope's picture. Taking out my handkerchief, I wiped his face from the canvas, and for two hours stood with my own face close to the painting. Quickly the blurred paint took on my own features, the pigments moving to their places in a convection of tonalities. A travesty appeared before me, a man in a white yachtsman's jacket with strong shoulders and high forehead, the physique of some intelligent man of action, on which were superimposed my own plump features and brush moustache.

The paint annealed, the first light of the false dawn touching the sand-blown terrace.

'Charles!'

Hope Cunard stepped through the open window, her white gown shivering around her naked body like a tremulous wraith. She stood beside me, staring at my face on the portrait.

'So it is you. Robert, Charles Rademaeker came back as you... The sand-sea brings us strange dreams.'

Five minutes later, as we moved arm in arm along the corridor to her bedroom, we entered an empty room. From a cabinet Hope took a white yachting-jacket. The linen was worn and sand-stained. Dried blood marked a bullet-hole in its waist.

I wore it like a target.

The image of Charles Rademaeker hovered in Hope's eyes as she sat on her bed like a tired' dream-walker and watched me seal the windows of her bedroom.

During the days that followed, as we sailed the sand-sea together, she told me something of her affair with Charles Rademaeker, this Dutchman, recluse and intellectual who wandered across the desert in his yacht cataloguing the rare fauna of the dunes. Drifting out of the dusk air with a broken yard two years earlier, he had dropped anchor at Lizard Key. Coming ashore for cocktails, his stay had lasted for several weeks, a bizarre love-idyll between himself and this shy and beautiful painter that came to a violent end. What happened Hope never made clear. At times, as I wore the blood-stained jacket with its bullet-hole, I guessed that she had shot him, perhaps while she sat for a portrait. Evidently something strange had occurred to a canvas, as if it had revealed to Rademaeker some of the unstated elements he had begun to suspect in Hope's character. After their tragic climax, when Rademaeker had either been killed or escaped, Hope searched the sand-sea for him each summer in her white schooner.

Now Rademaeker had returned - whether from the desert or the dead - cast up from the fractured sand in my own person. Did Hope really believe that I was her reincarnated lover? Sometimes at night, as she lay beside me in the cabin, the reflected light of the quartz veins moving over her breasts like necklaces, she would talk to me as if completely aware of my separate identity. Then, after we had made love, she would deliberately keep me from sleeping, as if disturbed by even this attempt to leave her, and would call me Rademaeker, her clouded face that of a neurotic and disintegrating woman. At these moments I could understand why Foyle and Barbara Quimby had retreated into their private world.

As I look back now, I think I merely provided Hope with a respite from her obsession with Rademaeker, a chance to live out her illusion in this strange emotional pantomime. Meanwhile Rademaeker himself waited for us nearby in the secret places of the desert.

One evening I took Hope sailing across the dark sand-sea. I told the crew to switch on the rigging lights and the decorated bulbs around the deck awning. Driving this ship of light across the black sand, I stood with Hope by the stern rail, my arm around her waist. Asleep as she stood there, her head lay on my shoulder. Her opal hair lifted in the dark wake like the skeleton of some primeval bird.

An hour later, as we reached Lizard Key, I saw a white schooner slip its anchor somewhere among the sand-reefs and head away into the open sea.

Only Hope's half-brother was now left to remind me of my precarious hold on both Hope and the island. Foyle had kept out of my way, playing his private games among the rock spires below the terrace. Now and then, when he saw us walking arm in arm, he would look up from his beach chair with droll but wary eyes.

One morning, soon after I had suggested to Hope that she send her half-brother and Miss Quimby back to her house in Red Beach, Foyle sauntered into the library. I noticed the marked jauntiness of his manner. One hand pressed to his heavy mouth, he gestured sceptically at the portraits of Hope and myself. 'First the Ancient Mariner, now the Flying Dutchman - for a bad sailor you're playing an awful lot of sea roles, Melville. Thirty days in an open divan, eh? What are you playing next - Captain Ahab, Jonah?'

Barbara Quimby came up behind him, and the two of them smirked down at me, Foyle with his ugly faun's head.

'What about Prospero?' I rejoined evenly. 'This island is full of visions. With you as Caliban, Foyle.'

Nodding to himself at this, Foyle strolled up to the paintings. A large hand sketched in obscene outlines. Barbara Quimby began to laugh. Arms around each other's waists, they left together. Their tittering voices merged with the cries of the sand-rays wheeling above the rock spires in the blood-red air.

Shortly afterwards, the first curious changes began to occur to our portraits. That evening, as we sat together in the library, I noticed a slight but distinct alteration in the planes of Hope's face on the canvas, a pock-like disfigurement of the skin. The texture of her hair had altered, taking on a yellowish sheen.

This transformation was even more pronounced the following day. The eyes in the painting had developed a squint, as if the canvas had begun to recognize some imbalance within Hope's own gaze. I turned to the portrait of myself. Here, too, a remarkable change was taking place. My face had begun to develop a snout-like nose. The heavy flesh massed around the lips and nostrils, and the eyes were becoming smaller, submerged in the rolls of fat. Even my clothes had changed their texture, the black and white checks of my silk shirt resembling the suit of some bizarre harlequin.

By the next morning this ugly metamorphosis was so startling that even Hope would have noticed it. As I stood in the dawn light, the figures that looked down at me were those of some monstrous saturnalia. Hope's hair was now a bright yellow. The curled locks framed a face like a powdered skull. As for myself, my pig-snouted face resembled a nightmare visage from the black landscapes of Hieronymus Bosch.

I drew the curtain across the paintings, and then examined my mouth and eyes in the mirror. Was this mocking travesty how Hope and I really appeared? I decided that the pigments were faulty - Hope rarely renewed her stock and were producing these diseased images of ourselves. After breakfast we dressed in our yachting clothes and went down to the quay. I said nothing to Hope. All day we sailed within sight of the island, not returning until the evening.

Shortly after midnights as I lay beside Hope in her bedroom below the studio, I was woken by the white rays whooping through the darkness across the windows. They circled like agitated beacons. In the studio, careful not to wake Hope, I searched the canvases by the windows. In one I found the fresh image of a white ship, its sails concealed in a cove half a mile from the island.

So Rademaeker had returned, his presence in some way warping the pigments in our portraits. Convinced at the time by this insane logic, I drove my fists through the canvas, oblitering the image of the ship. My hands and arms smeared with wet paint, I went down to the bedroom. Hope slept on the crossed pillows, hands clasped over her breasts.

I took the automatic pistol which she kept in her bedside table. Through the window the white triangle of Rademaeker's sail rose into the night air as he raised his anchor.

Halfway down the staircase I could see into the library. Arc lights had been set up on the floor. They bathed the canvases in their powerful light, accelerating the motion of the pigments. In front of the paintings, grimacing in obscene poses, were two creatures from a nightmare. The taller wore a black robe like a priest's cassock, a pig's papier-m%0ch mask on his head. Beside him was a woman in a yellow wig with a powdered face, bright lips and eyes. Together they primped and preened in front of the paintings.

Kicking back the door, I had a full glimpse of these nightmare figures. On the paintings the flesh ran like overheated wax, the images of Hope and myself taking up their own obscene pose. Beyond the blaze of arc lights the woman in the yellow wig slipped from the curtains on to the terrace. As I stepped over the cables I was aware briefly of a man's cloaked shoulders behind me. Something struck me below the ear. I fell to my knees, and the black robes swept over me to the window.

'Rademaeker!' Holding a paint-smeared hand to my neck, I stumbled over the pewter statuette that had struck me and ran out on to the terrace. The frantic rays whipped through the darkness like shreds of luminous spit. Below me, two figures ran down among the rock spires towards the beach.

Almost exhausted by the time I reached the beach, I walked clumsily across the dark sand, eyes stinging from the paint on my hands. Fifty yards from the beach the white sails of an immense sand-schooner rose into the night air, its bowsprit pointing towards me.

Lying on the sand at my feet were the remains of a yellow wig, a pig's plaster snout and the tattered cassock. Trying to pick them up, I fell to my knees. 'Rademaeker...!'

A foot struck my shoulder. A slim, straight-backed man wearing a yachtsman's cap stared down at me with irritated eyes. Although he was smaller than I had imagined, I immediately recognized his sparse, melancholy face.

He pulled me to my feet with a strong hand. He gestured at the mask and costume, and at my paint-smeared arms.

'Now, what's this nonsense? What games are you people playing?'

'Rademaeker...' I dropped the yellow-locked wig on to the sand. 'I thought it was - '

'Where's Hope?' His trim jaw lifted as he scanned the villa. 'Those rays... Is she here? What is this - a black mass?'

'Damn nearly.' I glanced along the deserted beach, illuminated by the light reflected off the great sails of the schooner. I realized whom I had seen posturing in front of the canvas. 'Foyle and the girl! Rademaeker, they were there - '

Already he was ahead of me up the path, only pausing to shout to his two crewmen watching from the bows of the yacht. I ran after him, wiping the paint off my face with the wig. Rademaeker darted away from the path to take a short cut to the terrace. His compact figure moved swiftly among the rock spires, slipping between the sonic statues growing from the fused sand.

When I reached the terrace he was already standing in the darkness by the library windows, gazing in at the brilliant light. He removed his cap with a careful gesture, like a swain paying court to his sweetheart. His smooth hair, dented by the cap brim, gave him a surprisingly youthful appearance, unlike the hard-faced desert rover I had visualized. As he stood there watching Hope, whose white-robed figure was reflected in the open windows, I could see him in the same stance on his secret visits to the island, gazing for hours at her portrait.

'Hope... let me - , Rademaeker threw down his cap and ran forward. A gunshot roared out, its impact breaking a pane in the french windows. The sound boomed among the rock spires, startling the rays into the air. Pushing back the velvet curtains, I stepped into the room.

Rademaeker's hands were on the brocaded sofa. He moved quietly, trying to reach Hope before she noticed him. Her back to us, she stood by the painting with the pistol in her hand.

Over-excited by the intense light from the arc lamps, the pigments had almost boiled off the surface of the canvas. The livid colours of Hope's pus-filled face ran like putrefying flesh. Beside her the pig-faced priest in my own image presided over her body like the procurator of hell.

Her eyes like ice, Hope turned to face Rademaeker and myself. She stared at the yellow wig in my hands, and at the paint smeared over my arms. Her face was empty. All expression had slipped from it as if in an avalanche.

The first shot had punctured the portrait of herself. Already the paint was beginning to run through the bullet-hole. Like a dissolving vampire, the yellow-haired lamia with Hope's features began to sway and spiral downwards.

'Hope...' Rademaeker moved forward. Before he could take her wrist she turned and fired at him. The shot tore the glass from the window beside me. The fragments lay in the darkness like pieces of a broken moon.

The next shot struck Rademaeker in the left wrist. He dropped to one knee, gripping the bloodied wound. Confused by the explosions, which had almost jarred the pistol from her grip, Hope held the weapon in both hands, pointing it at the old bloodstain on my jacket. Before she could fire I kicked one of the arc lights across her feet. The room spun like a collapsing stage. I pulled Rademaeker by the shoulder on to the terrace.

We ran down to the beach. Halfway along the path Rademaeker stopped, as if undecided whether to go back. Hope stood on the terrace, firing down at the rays that screamed through the darkness over our heads. The white schooner was already casting off, its sails lifting in the night air.

Rademaeker beckoned to me with his bloodied wrist. 'Get to the ship. She's alone now... for ever.'

We crouched in the steering well of the schooner, listening to the sonic sculptures wail in the disturbed air as the last shots echoed across the empty desert.

At dawn Rademaeker dropped me half a mile from the beach at Ciraquito. He had spent the night at the helm, his bandaged wrist held like a badge to his chest, steering with his one strong hand. In the cold night air I tried to explain why Hope had shot at him, this last attempt to break through the illusions multiplying around her and reach some kind of reality.

'Rademaeker - I knew her. She wasn't shooting at you, but at a fiction of yourself, that image in the portrait. Damn it, she was obsessed with you.'

But he seemed no longer interested, his thin mouth with its uneasy lips making no reply. In some way he had disappointed me. Whoever finally took Hope away from Lizard Key would first have to accept the overlapping illusions that were the fabric of that strange island. By refusing to admit the reality of her fantasies Rademaeker had destroyed her.

When he left me among the dunes within sight of the beach-houses he gave a brusque salute and spun the helm, his erect figure soon lost among the rolling crests.

Three weeks later I chartered a yacht from one of the local ray-fishermen and went back to the island to collect my sloop. Hope's schooner was at its mooring. She herself, calm in her pale and angular beauty, came on to the terrace to greet me.

The paintings had gone, and with them any memory of that violent night. Hope's eyes looked at me with an untroubled gaze. Only her hands with their slim fingers moved with a restless life of their own.

At the end of the terrace her half-brother lounged among the beach chairs, Rademaeker's yachting cap propped over his eyes. Barbara Quimby sat beside him. I wondered whether to explain to Hope the callous and macabre game they had played with her, but after a few minutes she wandered away. Foyle's simpering mouth was the last residue of this world. Devoid of malice, he accepted his half-sister's reality as his own.

However, Hope Cunard has not entirely forgotten Charles Rademaeker. At midnight I sometimes see her sailing the sand-sea, in pursuit of a white ship with white sails. Last night, acting on some bizarre impulse, I dressed myself in the bloodstained jacket once worn by Rademaeker and sailed out to the edge of the sand-sea. I waited by a reef I knew she would pass. As she swept by soundlessly, her tall figure against the last light of the sun, I stood in the bows, letting her see the jacket. Again I wore it like a target.

Yet others sail this strange sea. Hope passed within fifty yards and never noticed me, but half an hour later a second yacht moved past, a rakish ketch with dragon's eyes on its bows and a tall, heavy-mouthed man wearing a yellow wig at its helm. Beside him a dark-eyed young woman smiled to the wind. As he passed, Foyle waved to me, and an ironic cheer carried itself across the dead sand to where I stood in my target-coat. Masquerading as mad priest or harpy, siren or dune-witch, they cross the sand-sea on their own terms. In the evenings, as they sail past, I can hear them laughing.