Regina withdrew a dictionary from the bookshelves and put it on the desk.
If they had a bad problem, Regina hoped it was the Mafia thing, because she could handle that pretty well. The Harrisons’ legs would get better eventually, and they’d learn an important lesson about not borrowing money from loansharks. Meanwhile, she could take care of them, make sure they got their medicine, check their temperatures now and then, bring them dishes of ice cream with a little animal cookie stuck in the top of each one, and even empty their bedpans (Gross!) if it came to that. She knew a lot about nursing, having been on the receiving end of so much of it at various times over the years. (Dear God, if their big problem is me, could I have a miracle here and get the problem changed to the Mafia, so they’ll keep me and we’ll be happy? In exchange for the miracle, I’d even be willing to have my legs broken, too. At least talk it over with the guys at the Mafia and see what they say.)
When the desk was fully prepared for homework, Regina decided that she needed to be dressed more comfortably in order to study. Having changed out of her parochial-school uniform when she had gotten home, she was wearing gray corduroy pants and a lime-green, long-sleeve cotton sweater. Pajamas and a robe were much better for studying. Besides, her leg brace was making her itch in a couple of places, and she wanted to take it off for the day.
When she slid open the mirrored closet door, she was face-to-face with a crouching man dressed all in black and wearing sunglasses.
3
On yet one more tour of the downstairs, Hatch decided to turn off the lamps and chandeliers as he went. With the landscape and exterior house lights all ablaze but the interior dark, he would be able to see a prowler without being seen himself.
He concluded the patrol in the unlighted den, which he had decided to make his primary guard station. Sitting at the big desk in the gloom, he could look through the double doors into the front foyer and cover the foot of the stairs to the second floor. If anyone tried to enter through a den window or the French doors to the rose garden, he would know at once. If the intruder breached their security in another room, Hatch would nail the guy when he tried to go upstairs, because the spill of second-floor hall light illuminated the steps. He couldn’t be everywhere at once, and the den seemed to be the most strategic position.
He put both the shotgun and the handgun on top of the desk, within easy reach. He couldn’t see them well without the lights on, but he could grab either of them in an instant if anything happened. He practiced a few times, sitting in his swivel chair and facing the foyer, then abruptly reaching out to grab the Browning, this time the Mossberg 12-gauge, Browning, Browning, Mossberg, Browning, Mossberg, Mossberg. Every time, maybe because his reactions were heightened by adrenaline, his right hand swooped through darkness and with precise accuracy came to rest upon the handgrip of the Browning or the stock of the Mossberg, whichever was wanted.
He took no satisfaction in his preparedness, because he knew he could not remain vigilant twenty-four hours a day, seven days a week. He had to sleep and eat. He had not gone to the shop today, and he could take off a few days more, but he couldn’t leave everything to Glenda and Lew indefinitely; sooner or later he would have to go to work.
Realistically, even with breaks to eat and sleep, he would cease to be an effective watchman long before he needed to return to work. Sustaining a high degree of mental and physical alertness was a draining enterprise. In time he’d have to consider hiring a guard or two from a private security firm, and he didn’t know how much that would cost. More important, he didn’t know how reliable a hired guard would be.
He doubted he would ever have to make that decision, because the bastard was going to come soon, maybe tonight. On a primitive level, a vague impression of the man’s intentions flowed to Hatch along whatever mystical bond they shared. It was like a child’s words spoken into a tin can and conveyed along a string to another tin can, where they were reproduced as dim fuzzy sounds, most of the coherency lost due to the poor quality of the conductive material but the essential tone still perceptible. The current message on the psychic string could not be heard in any detail, but the primary meaning was clear: Coming ... I’m coming ... I’m coming ...
Probably after midnight. Hatch sensed that their encounter would take place between that dead hour and dawn. It was now exactly 7:46 by his watch.
He withdrew his ring of car and house keys from his pocket, found the desk key that he had added earlier, opened the locked drawer, and took out the heat-darkened, smoke-scented issue of Arts American, letting the keys dangle in the lock. He held the magazine in both hands in the dark, hoping the feel of it would, like a talisman, amplify his magical vision and allow him to see precisely when, where, and how the killer would arrive.
Mingled odors of fire and destruction—some so bitterly pungent that they were nauseating, others merely ashy—rose from the crisp pages.
Vassago clicked off the fluorescent desk lamp. He crossed the girl’s room to the door, where he also switched off the ceiling light.
He put his hand on the doorknob but hesitated, reluctant to leave the child behind him. She was so exquisite, so vital. He knew the moment he had pulled her into his arms that she was the caliber of acquisition that would complete his collection and win him the eternal reward he sought.
Stifling her cry and cutting off her breathing with one gloved hand, he had swept her into the closet and crushed her against him with his strong arms. He had held her so fiercely that she could barely squirm and couldn’t kick against anything to draw attention to her plight.
When she had passed out in his arms, he had been almost in a swoon and had been overcome by the urge to kill her right there. In her closet. Among the soft piles of clothes that had fallen off the hangers above them. The scent of freshly laundered cotton and spray starch. The warm fragrance of wool. And girl. He wanted to wring her neck and feel her life energy pass through his powerful hands, into him, and through him to the land of the dead.
He had taken so long to shake off that overpowering desire that he almost had killed her. She fell silent and still. By the time he unclamped his hand from her nose and mouth, he thought he had smothered her. But when he put his ear to her parted lips, he could hear and feel faint exhalations. A hand against her chest rewarded him with the solid thud of her slow, strong heartbeat.
Now, looking back at the child, Vassago repressed the need to kill by promising himself that he would have satisfaction long before dawn. Meanwhile, he must be a Master. Exercise control.
Control.
He opened the door and studied the second-floor hallway beyond the girl’s room. Deserted. A chandelier was aglow at the far end, at the head of the stairs, in front of the entrance to the master bedroom, producing too much light for his comfort if he had not had his sunglasses. He still needed to squint.
He must butcher neither the child nor the mother until he had both of them in the museum of the dead, where he had killed all the others who were part of his collection. He knew now why he had been drawn to Lindsey and Regina. Mother and daughter. Bitch and mini-bitch. To regain his place in Hell, he was expected to commit the same act that had won him damnation in the first place: the murder of a mother and her daughter. As his own mother and sister were not available to be killed again, Lindsey and Regina had been selected.
Standing in the open doorway, he listened to the house. It was silent.
He knew the artist was not the girl’s birth mother. Earlier, when the Harrisons were in the dining room and he slipped into the house from the garage, he’d had time to poke around in Regina’s room. He’d found mementoes with the orphanage name on them, for the most part cheaply printed drama programs handed out at holiday plays in which the girl had held minor roles. Nevertheless, he had been drawn to her and Lindsey, and his own master apparently judged them to be suitable sacrifices.
The house was so still that he would have to move as quietly as a cat. He could manage that.
 
; He glanced back at the girl on the bed, able to see her better in the darkness than he could see most of the details of the too-bright hallway. She was still unconscious, one of her own scarves wadded in her mouth and another tied around her head to keep the gag in place. Strong lengths of cord, which he had untied from around storage boxes in the garage attic, tightly bound her wrists and ankles.
Control.
Leaving Regina’s door open behind him, he eased along the hallway, staying close to the wall, where the plywood sub-flooring under the thick carpet was least likely to creak.
He knew the layout. He had cautiously explored the second floor while the Harrisons had been finishing dinner.
Beside the girl’s room was a guest bedroom. It was dark now. He crept on toward Lindsey’s studio.
Because the main hallway chandelier was directly ahead of him, his shadow fell in his wake, which was fortunate. Otherwise, if the woman happened to be looking toward the hall, she would have been warned of his approach.
He inched to the studio door and stopped.
Standing with his back flat to the wall, eyes straight ahead, he could see between the balusters under the handrail of the open staircase, to the foyer below. As far as he could tell, no lights were on downstairs.
He wondered where the husband had gone. The tall doors to the master bedroom were open, but no lights were on in there. He could hear small noises coming from within the woman’s studio, so he figured she was at work. If the husband was with her, surely they would have exchanged a few words, at least, during the time Vassago had been making his way along the hall.
He hoped the husband had gone out on an errand. He had no particular need to kill the man. And any confrontation would be dangerous.
From his jacket pocket, he withdrew the supple leather sap, filled with lead shot, that he had appropriated last week from Morton Redlow, the detective. It was an extremely effective-looking blackjack. It felt good in his hand. In the pearl-gray Honda, two blocks away, a handgun was tucked under the driver’s seat, and Vassago almost wished he had brought it. He had taken it from the antique dealer, Robert Loffman, in Laguna Beach a couple of hours before dawn that morning.
But he didn’t want to shoot the woman and the girl. Even if he just wounded and disabled them, they might bleed to death before he got them back to his hideaway and down into the museum of death, to the altar where his offerings were arranged. And if he used a gun to remove the husband, he could risk only one shot, maybe two. Too much gunfire was bound to be heard by neighbors and the source located. In that quiet community, once gunfire was identified, cops would be crawling over the place in two minutes.
The sap was better. He hefted it in his right hand, getting the feel of it.
With great care, he leaned across the doorjamb. Tilted his head. Peeked into the studio.
She sat on the stool, her back to the door. He recognized her even from behind. His heart galloped almost as fast as when the girl had struggled and passed out in his arms. Lindsey was at the drawing board, charcoal pencil in her right hand. Busy, busy, busy. Pencil making a soft snaky hiss as it worked against the paper.
No matter how determined she was to keep her attention firmly on the problem of the blank sheet of drawing paper, Lindsey looked up repeatedly at the window. Her creative block crumbled only when she surrendered and began to draw the window. The uncurtained frame. Darkness beyond the glass. Her face like the countenance of a ghost engaged in a haunting. When she added the spider web in the upper right-hand corner, the concept jelled, and suddenly she became excited. She thought she might title it The Web of Life and Death, and use a surreal series of symbolic items to knit the theme into every corner of the canvas. Not canvas, Masonite. In fact, just paper now, only a sketch, but worth pursuing.
She repositioned the drawing tablet on the board, setting it higher. Now she could just raise her eyes slightly from the page to look over the top of the board at the window, and didn’t have to keep raising and lowering her head.
More elements than just her face, the window, and the web would be required to give the painting depth and interest. As she worked she considered and rejected a score of additional images.
Then an image appeared almost magically in the glass above her own reflection: the face that Hatch had described from nightmares. Pale. A shock of dark hair. The sunglasses.
For an instant she thought it was a supernatural event, an apparition in the glass. Even as her breath caught in her throat, however, she realized that she was seeing a reflection like her own and that the killer in Hatch’s dreams was in their house, leaning around the doorway to look at her. She repressed an impulse to scream. As soon as he realized she had seen him, she would lose what little advantage she had, and he would be all over her, slashing at her, pounding on her, finishing her off before Hatch even got upstairs. Instead, she sighed loudly and shook her head as if displeased with what she was getting down on the drawing paper.
Hatch might already be dead.
She slowly put down her charcoal pencil, letting her fingers rest on it as if she might decide to pick it up again and go on.
If Hatch wasn’t dead, how else could this bastard have gotten to the second floor? No. She couldn’t think about Hatch being dead, or she would be dead herself, and then Regina. Dear God, Regina.
She reached toward the top drawer of the supply cabinet at her side, and a shiver went through her as she touched the cold chrome handle.
Reflecting the door behind her, the window showed the killer not just leaning around the jamb now, but stepping boldly into the open doorway. He paused arrogantly to stare at her, evidently relishing the moment. He was unnaturally quiet. If she had not seen his image in the glass, she would have had no awareness whatsoever of his presence.
She pulled open the drawer, felt the gun under her hand.
Behind her, he crossed the threshold.
She drew the pistol out of the drawer and swung around on her stool in one motion, bringing the heavy weapon up, clasping it in both hands, pointing it at him. She would not have been entirely surprised if he had not been there, and if her first impression of him only as an apparition in the windowpane had turned out to be correct. But he was there, all right, one step inside the door when she drew down on him with the Browning.
She said, “Don’t move, you son of a bitch.”
Whether he thought he saw weakness in her or whether he just didn’t give a damn if she shot him or not, he backed out of the doorway and into the hall even as she swung toward him and told him not to move.
“Stop, damn it!”
He was gone. Lindsey would have shot him without hesitation, without moral compunction, but he moved so incredibly fast, like a cat springing for safety, that all she would have gotten was a piece of the doorjamb.
Shouting for Hatch, she was off the high stool and leaping for the door even as the last of the killer—a black shoe, his left foot—vanished out of the door frame. But she brought herself up short, realizing he might not have gone anywhere, might be waiting just to the side of the door, expecting her to come through in a panic, then step in behind her and pound her across the back of the head or push her into the stair railing and over and out and down onto the foyer floor. Regina. She couldn’t delay. He might be going after Regina. A hesitation of only a second, then she crashed through her fear and through the open door, all this time shouting Hatch’s name.
Looking to her right as she came into the hall, she saw the guy going for Regina’s door, also open, at the far end. The room was dark beyond when there ought to have been lights, Regina studying. She didn’t have time to stop and aim. Almost squeezed the trigger. Wanted to pump out bullets in the hope that one of them would nail the bastard. But Regina’s room was so dark, and the girl could be anywhere. Lindsey was afraid that she would miss the killer and blow away the girl, bullets flying through the open doorway. So she held her fire and went after the guy, screaming Regina’s name now instead of Hatch’s.
r /> He disappeared into the girl’s room and threw the door shut behind him, a hell of a slam that shook the house. Lindsey hit that barrier a second later, bounced off it. Locked. She heard Hatch shouting her name—thank God, he was alive, he was alive—but she didn’t stop or turn around to see where he was. She stepped back and kicked the door hard, then kicked it again. It was only a privacy latch, flimsy, it ought to pop open easily, but didn’t.
She was going to kick it again, but the killer spoke to her through the door. His voice was raised but not a shout, menacing but cool, no panic in it, no fear, just businesslike and a little loud, terrifyingly smooth and calm: “Get away from the door, or I’ll kill the little bitch.”
Just before Lindsey began to shout his name, Hatch was sitting at the desk in the den, lights off, holding Arts American in both hands. A vision hit him with an electric sound, the crackle of a current jumping an arc, as if the magazine were a live power cable that he had gripped in his bare hands.
He saw Lindsey from behind, sitting on the high stool in her office, at the drawing board, working on a sketch. Then she was not Lindsey any more. Suddenly she was another woman, taller, also seen from behind but not on the stool, in an armchair in a different room in a strange house. She was knitting. A bright skein of yarn slowly unraveled from a retaining bowl on the small table beside her chair. Hatch thought of her as “mother,” though she was nothing whatsoever like his mother. He looked down at his right hand, in which he held a knife, immense, already wet with blood. He approached her chair. She was unaware of him. As Hatch, he wanted to cry out and warn her. But as the user of the knife, through whose eyes he was seeing everything, he wanted only to savage her, tear the life out of her, and thereby complete the task that would free him. He stepped to the back of her armchair. She hadn’t heard him yet. He raised the knife high. He struck. She screamed. He struck. She tried to get out of the chair. He moved around her, and from his point of view it was like a swooping shot in a movie meant to convey flight, the smooth glide of a bird or bat. He pushed her back into the chair, struck. She raised her hands to protect herself. He struck. He struck. And now, as if it was all a loop of film, he was behind her again, standing in the doorway, except she wasn’t “mother” any more, she was Lindsey again, sitting at the drawing board in her upstairs studio, reaching to the top drawer of her supply cabinet and pulling it open. His gaze rose from her to the window. He saw himself—pale face, dark hair, sunglasses—and knew she had seen him. She spun around on the stool, a pistol coming up, the muzzle aimed straight at his chest—
“Hatch!”
His name, echoing through the house, shattered the link. He shot up from the desk chair, shuddering, and the magazine fell out of his hands.
“Hatch!”
Reaching out in the darkness, he unerringly found the handgrip of the Browning, and raced out of the den. As he crossed the foyer and climbed the stairs two at a time, looking up as he went, trying to see what was happening, he heard Lindsey stop shouting his name and start screaming “Regina!” Not the girl, Jesus, please, not the girl. Reaching the top of the stairs, he thought for an instant that the slamming door was a shot. But the sound was too distinct to be mistaken for gunfire, and as he looked back at the hall he saw Lindsey bounce off the door to Regina’s room with another crash. As he ran to join her, she kicked the door, kicked again, and then she stumbled back from it as he reached her.
“Lemme try,” he said, pushing past her.
“No! He said back off or he’ll kill her.”
For a couple of seconds, Hatch stared at the door, literally shaking with frustration. Then he took hold of the knob, tried to turn it slowly. But it was locked, so he put the muzzle of the pistol against the base of the knob plate.
“Hatch,” Lindsey said plaintively, “he’ll kill her.”
He thought of the young blonde taking two bullets in the chest, flying backward out of the car onto the freeway, tumbling, tumbling along the pavement into the fog. And the mother suffering the massive blade of the butcher knife as she dropped her knitting and struggled desperately for her life.
He said, “He’ll kill her anyway, turn your face away,” and he pulled the trigger.
Wood and thin metal dissolved into splinters. He grabbed the brass knob, it came off in his hand, and he threw it aside. When he shoved on the door, it creaked inward an inch but no farther. The cheap lock had disintegrated. But the shank on which the knob had been seated was still bristling from the wood, and something must have been wedged under the other knob on the inside. He pushed on the shank with the palm of his hand, but that didn’t provide enough force to move it; whatever was wedged against the other side—most likely the girl’s desk chair—was exerting upward pressure, thereby holding the shank in place.
Hatch gripped the Browning by its barrel and used the butt as a hammer. Cursing, he pounded the shank, driving it inch by inch back through the door.
Just as the shank flew free and clattered to the floor inside, a vivid series of images flooded through Hatch’s mind, temporarily washing away the upstairs hall. They were all from the killer’s eyes: a weird angle, looking up at the side of a house, this house, the wall outside Regina’s bedroom. The open window. Below the sill, a tangle of trumpet-vine runners. A hornlike flower in his face. Latticework under his hands, splinters digging into his skin. Clutching with one hand, searching with the other for a new place to grip, one foot dangling in space, a weight bearing down hard over his shoulder. Then a creaking, a splitting sound. A sudden sense of perilous looseness in the geometric web to which he clung—
Hatch was snapped back to reality by a brief, loud noise from beyond the door: clattering and splintering wood, nails popping loose with tortured screeches, scraping, a crash.
Then a new wave of psychic images and sensations flushed through him. Falling. Backward and out into the night. Not far, hitting the ground, a brief flash of pain. Rolling once on the grass. Beside him, a small huddled form, lying still. Scuttling to it, seeing the face. Regina. Eyes closed. A scarf tied across her mouth—
“Regina!” Lindsey cried.
When reality clicked into place once again, Hatch was already slamming his shoulder against the bedroom door. The brace on the other side fell away. The door shuddered open. He went inside, slapping the wall with one hand until he found the light switch. In the sudden glare, he stepped over the fallen desk chair and swung the Browning right, then left. The room was deserted, which he already knew from his vision.
At the open window he looked out at the collapsed trellis and tangled vines on the lawn below. There was no sign of the man in sunglasses or of Regina.
“Shit!” Hatch hurried back across the room, grabbing Lindsey, turning her around, pushing her through the door, into the hall, toward the head of the stairs. “You take the front, I’ll take the back, he’s got her, stop him, go, go.” She didn’t resist, picked up at once on what he was saying, and flew down the steps with him at her heels. “Shoot him, bring him down, aim for the legs, can’t worry about hitting Regina, he’s getting away!”
In the foyer Lindsey reached the front door even as Hatch was coming off the bottom step and turning toward the short hallway. He dashed into the family room, then into the kitchen, peering out the back windows of the house as he ran past them. The lawn and patios were well lighted, but he didn’t see anyone out there.
He tore open the door between the kitchen and the garage, stepped through,