Whispers. Part 54

"All right."

"I've never talked about it before."

"I'm listening."

"I ran out of the kitchen when he shot her," Hilary said.

"I knew I couldn't make it out of the apartment and down the hall before he shot me in the back, so I ducked the other way, into my room. I closed and locked the door, but he shot the lock off. By then, he was convinced that I was the one causing the worms to come out of the walls. He shot me. It wasn't anywhere close to being a fatal wound, but it hurt like h.e.l.l, like a white-hot poker in my side, and it bled a lot."

"Why didn't he shoot you again? What saved you?"

"I stabbed him," she said.

"Stabbed? Where'd you get the knife?"

"I kept one in my room. I'd had it since I was eight. I'd never used it until then. But I'd always thought that if one of their beatings got out of hand and it looked like they were going to finish me, I'd cut them to save myself. So I cut Earl about the same instant he pulled the trigger. I didn't hurt him any worse than he hurt me, but he was shocked, terrified at the sight of his own blood. He ran out of the room, back to the kitchen. He started shouting at Emma again, telling her to make the worms go away before they smelled his blood and came after him. Then he emptied his gun into her because she wouldn't send the worms away. I was hurting something terrible from the wound in my side, and I was scared, but I tried to count the shots. When I thought he'd used up his ammunition, I hobbled out of my room and tried to make it to the front door. But he had several boxes of bullets. He had reloaded. He saw me and shot at me from the kitchen, and I ran back to my room. I barricaded the door with a dresser and hoped help would come before I bled to death. Out in the kitchen, Earl kept screaming about the worms, and then about giant crabs at the windows, and he kept emptying the gun into Emma. He put almost a hundred and fifty rounds into her before it was all over. She was torn to pieces. The kitchen was a charnel house."

Tony cleared his throat. "What happened to him?"

"He killed himself when the SWAT team finally broke in."

"And you?"

"A week in the hospital. A scar to remind me."

They were silent for a while.

Beyond the drapes, beyond the leaded windows, the night wind coughed.

"I don't know what to say," Tony said.

"Tell me you love me."

"I do."

"Tell me."

"I love you."

"I love you, Tony."

He kissed her.

"I love you more than I ever thought I could love anyone," she said. "In just a week, you've changed me forever."

"You're d.a.m.ned strong," he said admiringly.

"You give me strength."

"You had plenty of that before I came along."

"Not enough. You give me more, Usually ... just thinking about that day he shot me ... I get upset, scared all over again, as if it just happened yesterday. But I didn't get scared this time. I told you all about it, and I was hardly affected. You know why?"

"Why?"

"Because all the terrible things that happened in Chicago, the shooting and everything that came before it, all of that is ancient history now. None of it matters any more. I have you, and you make up for all the bad times. You balance the scales. In fact, you tip the scales in my favor."

"It works both ways, you know, I need you as much as you need me."

"I know. That's what makes it so perfect."

They were silent again.

Then she said, "There's another reason that those memories of Chicago don't scare me any more. I mean, besides the fact that I've got you now."

"What's that?"

"Well, it has to do with Bruno Frye. Tonight I began to realize that he and I have a lot in common. It looks like he endured the same sort of torture from Katherine that I got from Earl and Emma. But he cracked, and I didn't. That big strong man cracked, but I held on. That means something to me. It means a lot. It tells me that I shouldn't worry so much, that I should not be afraid of opening myself to people, that I can take just about anything the world throws at me."

"That's what I told you. You're strong, tough, hard as nails," Tony said.

"I'm not hard. Feel me. Do I feel hard?"

"Not here," he said.

"What about here?"

"Firm," he said.

"Firm isn't the same as hard."

"You feel nice."

"Nice isn't the same as hard either."

"Nice and firm and warm," he said.

She squeezed him.

"This is hard," she said, grinning.

"But it's not hard to make it soft again. Want me to show you?"

"Yes," she said. "Yes. Show me."

They made love again.

As Tony filled her up and explored her with long silken strokes, as waves of pleasure crashed through her, she was sure that everything would be all right. The act of love rea.s.sured her, gave her tremendous confidence in the future. Bruno Frye had not come back from the grave. She wasn't being stalked by a walking corpse. There was a logical explanation. Tomorrow they would talk to Dr. Rudge and Rita Yancy, and they would learn what lay behind the mystery of the Frye look-alike. They would uncover enough information and proof to help the police, and the double would be found, arrested. The danger would pa.s.s. Then she would always be with Tony, and Tony with her, and then nothing really bad could happen. Nothing could hurt her. Neither Bruno Frye nor anyone else could hurt her. She was happy and safe at last.

Later, as she lay on the edge of sleep, a sharp crash of thunder filled the sky, rolled down the mountains, into the valley, and over the house.

A strange thought flashed through her mind: The thunder is a warning. It's an omen. It's telling me to be careful and not to be so d.a.m.ned sure of myself.

But before she could explore that thought further, she fell off the edge of sleep, all the way down into it.

Frye drove north from Los Angeles, traveling near the sea at first, then swinging inland with the freeway.

California had just come out of one of its periodic gasoline shortages. Service stations were open. Fuel was available. The freeway was a concrete artery running through the flesh of the state. The twin scalpels of his headlights laid it bare for his examination.

As he drove, he thought about Katherine. The b.i.t.c.h! What was she doing in St. Helena? Had she moved back into the house on the cliff? If she had done that, had she also taken over control of the winery again? And would she try to force him to move in with her? Would he have to live with her and obey her as before? All of those questions were of vital importance to him, even though most of them didn't make any sense whatsoever and could not be sensibly answered.

He was aware that his mind was not clear. He wasn't able to think straight regardless of how hard he tried, and that inability frightened him.

He wondered if he should pull over at the next rest area and get some sleep. When he woke he might have control of himself again.

But then he remembered that Hilary-Katherine was already in St. Helena, and the possibility that she was setting a trap for him in his own house was far more unsettling than his temporary inability to order his thoughts.

He wondered, briefly, whether the house was actually his any longer. After all, he was dead. (Or half dead.) And they had buried him. (Or they thought they had.) Eventually, the estate would be liquidated.

As Bruno considered the extent of his losses, he got very angry with Katherine for taking so much from him and leaving so little. She had killed him, had taken himself from him, leaving him alone, without himself to touch and talk to, and now she had even moved into his house.

He pushed his foot down hard on the accelerator until the speedometer registered ninety miles an hour.

If a cop stopped him for speeding, Bruno intended to kill him. Use the knife. Cut him open. Rip him up. No one was going to stop Bruno from getting to St. Helena before sunrise.

Seven.

AFRAID THAT HE would be seen by men on the night crew at the winery, men who knew him to be dead, Bruno Frye did not drive the van onto the property. Instead, he parked almost a mile away, on the main road, and walked overland, through the vineyards, to the house that he had built five years ago.

Shining indirectly through ragged tears in the cloud cover, the cold white moon cast just enough light for him to make his way between the vines.

The rolling hills were silent. The air smelled vaguely of copper sulphate which had been sprayed during the summer to prevent mildew, and overlaying that was the fresh, ozone odor of the rain that had stirred up the copper sulphate. There was no rain falling now. There couldn't have been much of a storm earlier, just sprinkles, squalls. The land was only soft and damp, not muddy.

The night sky was one shade brighter than it had been half an hour ago. Dawn had not yet arrived from its bed in the east, but it would be rising soon.

When he reached the clearing, Bruno hunkered down beside a line of shrubbery and studied the shadows around the house. The windows were dark and blank. Nothing moved. There was not a sound except the soft, whispery whistle of the wind.

Bruno crouched by the shrubs for a few minutes. He was afraid to move, afraid that she was waiting for him inside. But at last, heart pounding, he forced himself to forsake the cover and relative safety of the shrubbery; he got up and walked to the front door.

His left hand held a flashlight that wasn't switched on, and his right hand held a knife. He was prepared to lunge and thrust at the slightest movement, but there was no movement other than his own.

At the doorstep, he put the flashlight down, fished a key out of his jacket pocket, unlocked the door. He picked up the flash, pushed the door open with one foot, snapped on the light that he carried, and went into the house fast and low, the knife held straight out in front of him.

She wasn't waiting in the foyer.

Bruno went slowly from one gloomy, overfurnished room to another gloomy, overfurnished room. He looked in closets and behind sofas and behind large display cases.

She wasn't in the house.

Perhaps he had gotten back in time to stop whatever plot she was hatching.

He stood in the middle of the living room, the knife and the flashlight still in his hands, both of them directed at the floor. He swayed, exhausted, dizzy, confused.

It was one of those times when he desperately needed to talk to himself, to share his feelings with himself, to work out his confusion with himself and get his mind back on the track. But he would never again be able to consult with himself because himself was dead.

Dead.

Bruno began to shake. He wept.

He was alone and frightened and very mixed-up.

For forty years, he had posed as an ordinary man, and he had pa.s.sed for normal with considerable success. But he could not do that any more. Half of him was dead. The loss was too great for him to recover. He had no self-confidence. Without himself to turn to, without his other self to give advice and offer suggestions, he did not have the resources to maintain the charade.

But the b.i.t.c.h was in St. Helena. Somewhere. He couldn't sort out his thoughts, couldn't get a grip on himself, but he knew one thing: He had to find her and kill her. He had to get rid of her once and for all.

The small travel alarm was set to go off at seven o'clock Thursday morning.

Tony woke an hour before it was time to get up. He woke with a start, began to sit up in bed, realized where he was, and eased back down to the pillow. He lay on his back, in the dark, staring at the shadowy ceiling, listening to Hilary's rhythmic breathing.

He had bolted from sleep to escape a nightmare. It was a brutal, grisly dream filled with mortuaries and tombs and graves and coffins, a dream that was somber and heavy and dark with death. Knives. Bullets. Blood. Worms coming out of the walls and wriggling from the staring eyes of corpses. Walking dead men who spoke of crocodiles. In the dream, Tony's life had been threatened half a dozen times, but on each occasion, Hilary had stepped between him and the killer, and every time she had died for him.

It was a d.a.m.ned disturbing dream.

He was afraid of losing her. He loved her. He loved her more than he could ever tell her. He was an articulate man, and he was not the least bit reluctant to express his emotions, but he simply did not have the words to properly describe the depth and quality of his feeling for her. He didn't think such words existed; all of the ones he knew were crude, leaden, hopelessly inadequate. If she were taken from him, life would go on, of course--but not easily, not happily, not without a great deal of pain and grief.

He stared at the dark ceiling and told himself that the dream had not been anything to worry about. It had not been an omen. It had not been a prophecy. It was only a dream. Just a bad dream. Nothing more than a dream.

In the distance, a train whistle blew two long blasts. It was a cold, lonely, mournful sound that made him pull the covers up to his chin.

Bruno decided that Katherine might be waiting for him in the house that Leo had built.

He left his own house and crossed the vineyards. He took the knife and flashlight with him.

In the first pale light of dawn, while most of the sky was still blue-black, while the valley lay in the fading penumbra of the night, he went to the clifftop house. He did not go up by way of the cable car because, in order to board it, he would have to go into the winery and climb to the second floor, where the lower tramway station occupied a corner of the building. He dared not be seen in there, for he figured the place was now crawling with Katherine's spies. He wanted to sneak up on the house, and the only route by which he could do that was the stairs on the face of the cliff.

He started climbing rapidly, two steps at a time, but before he went very far, he discovered that caution was essential. The staircase was crumbling. It had not been kept in good repair, as the tramway had been. Decades of rain and wind and summer heat had leeched away much of the mortar that bound the old structure together. Small stones, pieces of virtually every one of the three hundred and twenty steps, broke off under his feet and clattered to the base of the cliff. Several times, he almost lost his balance, almost fell backwards, or almost pitched sideways into s.p.a.ce. The safety railing was decayed, dilapidated, missing whole sections; it would not save him if he stumbled against it. But slowly, cautiously, he followed the switchback path of the staircase, and in time he reached the top of the cliff.