"It's been far too long, Mr. DelaSangre," Max Lieber greets me at the door. He fumbles through a stack of papers he keeps next to the menus. "One moment, sir, someone was asking for you not very long ago…"

I arch an eyebrow, look around while he's searching his papers, notice a new poster, a photocopied leaflet really, tacked to the wall by the entrance. A grainy picture of Maria occupies its center. I turn away, stare at anything else.

Max picks up a torn piece of paper, brandishes it over his head. "Ah!" he says. "I knew I still had it. I don't know if you've heard but one of our waitresses, Maria-she waited on you last time you were in, I think… anyway, she seems to be missing." He shakes his head. "I told the young man, her brother, I doubted you even remembered her, but he was quite insistent. He said I should give you his number if you came in."

"Certainly," I say, looking as puzzled as I can. "I'm not sure what help I can be." I take it, glance at the number, note it's a local one, fold the paper and put it in my pocket.

"You have to understand, sir, the young man's frantic. He told me the police are no help at all. He's trying to talk to every person who had contact with her before she disappeared."

"But she just served me a meal…"

"She told him about a customer who dined alone, who had incredible green eyes. When he said that to me, I knew it had to be you she was describing. Maria complained to him that she gave you her number, but you never called. I think she had a crush on you, sir."

"Oh, yes, I think I remember her," I say, concentrating on looking calm, indifferent. "She was a sweet girl, way too young for me, wouldn't you think?"

"That's what I told Jorge."

"I'll be out of town for a while. If you see him again," I say, "let him know I'll see him when I get back."

Max nods, guides me to a table-without saying another word, as if to make up for the torrent of conversation he's just subjected me to-and motions for a waitress to serve me.

She's taller than Maria, thinner, but she smiles at me the same way the other girl did. I look away from her as I order. I want no flirting tonight, no repetition of what happened before.

The folded piece of paper remains an unwanted presence in my pocket. I recall my evening with Maria, and try to catalogue anything I did that could link me to her.

Thanks to Arturo's connections my cell phone calls are routed in such a way as to make them untraceable. Should anyone have seen the Chris Craft, the boat is gone and sunk at sea. And obviously she didn't tell anyone about our last-minute plans.

I sigh and force my mind toward more pleasant things. Only the thought of the girl I seek helps keep my mind from Maria. Still, I bolt down my food and rush out of the restaurant before any more memories can haunt me. I tear the paper to little pieces as soon as I reach the parking lot.

Slash and Scar greet my return, growling and barking in the dark as I let the boat coast to the dock. I find it reassuring to be welcomed by something alive, no matter how hostile, and make a mental note to throw some feed over the wall before I retire for the night.

Now that I know I'm going to leave it shortly, the island no longer seems such a lonely prison. I bring my packages up to my room, then wander out onto the veranda, let the sea breeze worry at me while I admire the summer sky, the silver glow of the moon's reflection stretched out over the water.

I breathe in deep and wish there was a hint of her on the air. But soon, I promise myself. "Soon," I say out loud.

Offshore, only a few boat lights dot the horizon-none shine near the island-and I'm seized by the impulse to do something silly to celebrate my imminent departure, something maybe a little reckless.

Father built the house with defense in mind, placing an arms storeroom on each of the building's four sides. I go to the storeroom on the veranda, between his room and mine. As usual I admire the ancient, massive, iron-sheaved, wooden crossbeam he designed and installed to block access through the room's large, oak door. Better than any modern lock or chain, the bar's set deep into the thick stone wall on either side of the door, with no apparent way of removing it.

I approach the door's right side, place my fingers on a narrow crack running between two large stones and sigh. While shifting from dragon to human form comes as naturally to me as changing shirts, shifting to other shapes requires far more effort. When I was young, Father used to make me practice thinning my limbs, flattening my form. I often complained, I didn't like how it felt.

"We never know what shape chance may require of us," Father always scolded. "I've escaped from humans more than a few times because their intellect couldn't allow for my ability to squeeze through small spaces."

Sucking in a breath, I concentrate on reducing the width of my hand and forearm, my cells almost aflame in protest at their compression, my upper arm swollen from backed-up fluids. Gritting my teeth, I push in through the crack, fumble my way until half my forearm is inside the stone and my newly thinned hand reaches open space. I feel for the release lever to the catch, touch it, lose it and find it again. It clicks open as soon as I tug on it.

That done, I withdraw my hand, let it regain its shape. Breathing out, I wonder once again whether I should replace the mechanism with a simpler, key-operated device. But I know as long as Father's device is in place, I'll never need to worry that anyone else can gain access to this room.

I grasp the crossbeam in both hands, slide it to the right-a move only permitted by the catch's release-until another click signals a counterweight has been engaged. Letting go, stepping back, I watch as the crossbeam pivots up, out of the way.

As soon as I throw open the room's door, the dank air within escapes, surrounding me with the burnt sulfur smell of discharged gunpowder intermixed with the odors of rotting wood and mildewed canvas. I recoil from it, stare into the dark room, try to decipher what lurks in the shadows and regret I've never wired the storeroom for electricity and lights. Well aware of the barrels of gunpowder Father kept stored here, I feel around for a torch and, once found, light it outside, on the veranda.

In the torch's wavering, yellow-orange light, I can make out the rusting swords and armor stored on sagging wooden shelves, the ancient pistols and rifles hanging on the walls, the three black cannons pushed back into the interior of the room, surrounded by stacks of cannonballs and sealed lead canisters filled with gunpowder.

It takes over a half hour for me to pull and push one of the cannons out of the room, load it and shove it into place at one of the gun ports cut into the coral parapet. Sweating, smiling, I say, "Father, this is for you," and lower a flaming torch to the touch hole.

A burst of smoke clouds up from the hole and, for a moment, when the cannon doesn't instantly fire, I wonder if the powder's gone bad or if I've done something wrong.

Flame leaps from the cannon's barrel with a roar that pierces the air and seems to reverberate long after it's gone. Far out at sea, a thin white plume of water erupts as the ball strikes.

I laugh and whoop from the sound and sight of it, then feel foolish to have done such a thing. But as I search the water for nearby boat lights, I can't help but grin, knowing that even if the cannon blasts were reported, my family's influence and Arturo's dispensation of cash and favors ensure that the marine patrol will avoid investigating my island no matter what.

When I close up the storeroom, I make sure to leave the cannon outside, in its place, to make it easier to use the next time.

Before sleep, I go down to the treasure room in the bowels of the house and sort through the chests, looking for a gift to bring with me. Even though I put it aside at first, I keep coming back to the delicate gold chain and the gold four-leaf clover attached to it, a small emerald inset in its center.