As he drove, he thought about Katherine. The bitch! 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 passed 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 bitch 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 damned 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 space.
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.
He crossed the lawn, which had gone to weeds. Dozens of rose bushes, once carefully tended and manicured, had sent thorny tentacles in all directions and now sprawled in tangled, flowerless heaps.
Bruno let himself into the rambling Victorian mansion and searched the musty, dust-filmed, spider-webbed rooms which stank of mildew that thrived on the drapes and carpets. The house was crammed full of antique furniture and art glass and statuary and many other things, but it did not hold anything sinister. The woman was not here, either.
He didn't know whether that was good or bad. On the one hand, she hadn't moved in, hadn't taken over in his absence. That was good. He was relieved about that. But on the other hand--where the hell was she?
His confusion was rapidly getting worse. His powers of reasoning began to fail him hours ago, but now he couldn't trust his five senses, either. Sometimes he thought he heard voices, and he pursued them through the house, only to realize it was his own mumbling that he heard. Sometimes the mildew didn't smell like mildew at all, but like his mother's favorite perfume; but then a moment later it smelled like mildew again. And when he looked at familiar paintings that had hung on these walls since his childhood, he was unable to perceive what they were depicting; the shapes and colors would not resolve themselves, and his eyes were baffled by even the most simple pictures. He stood before one painting that he knew to be a landscape with trees and wildflowers, but he was not able to see those objects in it; he could only remember that they were there; all he saw now were smears, disjointed lines, blobs, meaningless forms.
He tried not to panic. He told himself that his bizarre confusion and disorientation were merely the results of his not having slept all night. He'd driven a long way in a short time, and he was understandably weary. His eyes were heavy, gritty, red and burning. He ached all over. His neck was stiff. All he needed was sleep. When he woke, he would be clear-headed. That was what he told himself. That was what he had to believe.
Because he had searched the house from bottom to top, he was now in the finished attic, the big room with the sloped ceiling, where he had spent so much of his life. In the chalky glow of his flashlight, he could see the bed in which he had slept during the years he'd lived in the mansion.
Himself was already on the bed. Himself was lying down, eyes closed, as if sleeping. Of course, the eyes were sewn shut. And the white nightgown was not a nightgown; it was a burial gown that Avril Tannerton had put on him. Because himself was dead. The bitch had stabbed and killed him.
Himself had been stone-cold dead since last week.
Bruno was too enervated to vent his grief and rage. He went to the king-size bed and stretched out on his half of it, beside himself.
Himself stank. It was a pungent, chemical smell.
The bedclothes around himself were stained and damp with dark fluids that were slowly leaking out of the body.
Bruno didn't care about the mess. His side of the bed was dry. And although himself was dead and would never speak again or laugh again, Bruno felt good just being near himself.
Bruno reached out and touched himself. He touched the cold, hard, rigid hand and held it.
Some of the painful loneliness abated.
Bruno did not feel whole, of course. He would never feel whole again, for half of him was dead.
But lying there beside his corpse, he did not feel all alone either.
Leaving the flashlight on to dispel the darkness in the shuttered attic bedroom, Bruno fell asleep.
***
Dr. Nicholas Rudge's office was on the twentieth floor of a skyscraper in the heart of San Francisco. Apparently, Hilary thought, the architect either had never heard of the unpleasant term
"earthquake country," or he had made a very good deal with the devil. One wall of Rudge's office was glass from floor to ceiling, divided into three enormous panels by only two narrow, vertical, steel struts; beyond the window lay the terraced city, the bay, the magnificent Golden Gate Bridge, and the lingering tendrils of last night's fog. A quickening Pacific wind was tearing the gray clouds to tatters, and blue sky was becoming more dominant by the minute. The view was spectacular.
At the far end of the big room from the window-wall, six comfortable chairs were arranged around a circular teak coffee table. Obviously, group therapy sessions were held in that corner. Hilary, Tony, Joshua, and the doctor sat down there.
Rudge was an affable man with the ability to make you feel as if you were the most interesting and charming individual he had encountered in ages. He was as bald as all the clichés (a billiard ball, a baby's bottom, an eagle), but he had a neatly trimmed beard and mustache. He wore a three-piece suit with a tie and display handkerchief that matched, but there was nothing of the banker or of the dandy in his appearance. He looked distinguished, reliable, yet as relaxed as if he'd been wearing tennis whites.
Joshua summed up the evidence that the doctor had said he would need to hear, and he delivered a short lecture (which seemed to entertain Rudge) about a psychiatrist's obligation to protect society from a patient who appeared to have homicidal tendencies. In a quarter of an hour, Rudge heard enough to be convinced that a claim of doctor-patient privilege was neither wise nor justified in this case. He was willing to open the Frye file to them.
"Although I must admit," Rudge said, "if only one of you had come in here with this incredible story, I'd have put very little credence in it. I'd have thought you were in need of my professional services."
"We've considered the possibility that all three of us are out of our minds," Joshua said.
"And rejected it," Tony said.
"Well, if you are unbalanced," Rudge said, "then you'd better make it 'the four of us' because you've made a believer out of me, too."
During the past eighteen months (Rudge explained), he had seen Frye eighteen times in private, fifty-minute sessions. After the first appointment, when he realized the patient was deeply disturbed about something, he encouraged Frye to come in at least once every week, for he believed that the problem was too serious to respond to once-a-month sessions. But Frye had resisted the idea of more frequent treatments.
"As I told you on the phone," Rudge said, "Mr. Frye was torn between two desires. He wanted my help. He wanted to get to the root of his problem. But at the same time, he was afraid of revealing things to me--and afraid of what he might learn about himself."
"What was his problem?" Tony asked.
"Well, of course, the problem itself--the psychological knot that was causing his anxiety and tension and stress--was hidden in his subconscious mind. That's why he needed me. Eventually, we'd have been able to uncover that knot, and we might even have untied it, if the therapy had been successful. But we never got that far. So I can't tell you what was wrong with him because I don't really know. But I think what you're actually asking me is--what brought Frye to me in the first place? What made him realize that he needed help?"
