The Moonlit Mind (Novella): A Tale of Suspense
Author: Dean Koontz
Date: 2011-01-02 05:00:00+00:00
Keywords: Horror; Fiction; Short Stories; Paranormal; Fantasy; Thriller; Mystery; Suspense; Novella; Supernatural
Description: In this chilling original stand-alone novella, available exclusively as an eBook, #1 New York Times bestselling author Dean Koontz offers a taste of what’s to come in his new novel, 77 Shadow Street, with a mesmerizing tale of a homeless boy at large in a city fraught with threats . . . both human and otherwise.Twelve-year-old Crispin has lived on the streets since he was nine—with only his wits and his daring to sustain him, and only his silent dog, Harley, to call his friend. He is always on the move, never lingering in any one place long enough to risk being discovered. Still, there are cer
Publisher: Bantam

The Moonlit Mind is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

2011 Bantam eBook Original

Copyright © 2011 by Dean Koontz
Excerpt from 77 Shadow Street © 2011 by Dean Koontz

All rights reserved.

Published in the United States by Bantam Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.

BANTAM BOOKS and the rooster colophon are registered trademarks of Random House, Inc.

eISBN: 978-0-345-53013-4

This book contains an excerpt of the forthcoming title 77 Shadow Street by Dean Koontz. This excerpt has been set for this edition only and may not reflect the final content of the published book.

Cover design: Scott Biel
Cover image: gremlin/Getty Images
www.bantamdell.com
v3.1

Contents

Cover

Title Page

Copyright

Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19

Excerpt from 77 Shadow Street

About the Author

1

Crispin lives wild in the city, a feral boy of twelve, and he has no friend but Harley, though Harley never speaks.

Friendship does not depend on conversation. Sometimes the most important communication is not mouth to ear, but heart to heart.

Harley can’t speak because he is a dog. He understands many words, but he isn’t able to form them. He can bark, but he does not. Neither does he growl.

Silence is to Harley as music to a harp, flowing from him in glissando passages and arpeggios that are melodious to Crispin. The boy has heard too much in his few years. Quiet is a symphony to him, and the profound silence in any hushed place is a hymn.

This metropolis, like all others, is an empire of noise. The city rattles, bangs, and thumps. It buzzes and squeals, hisses and roars. Honks, clangs, tolls, jingles, clicks, clacks, creaks, knocks, pops, and rumbles.

Even in this storm of sound, however, quiet havens exist. Across the vast lawns of St. Mary Salome Cemetery, between tall pines and cedars like processions of robed monks, concentric circles of granite headstones lead inward to open-air mausoleum walls where the ashes of the dead are interred behind bronze plaques. The eight-foot-high, freestanding walls are arranged like spokes in a wheel. On any windless night, the massive evergreens of St. Mary Salome muffle the municipal voice, and the wheel of walls baffles it entirely.

At the hub where the spokes meet lies a wide circle of grass and at its center a great round slab of gray granite that serves as a bench. Here, Crispin sometimes sits in moonlight until the silence soothes his soul.

Then he and Harley move to the grass, where the boy prepares his bedroll. With no guilt to claw at his conscience, the dog sleeps the sleep of an innocent. The boy is not so fortunate.

Crispin suffers nightmares. They are based on memories.

Harley seems to dream of running free, toes spreading and paws trembling as he races across imagined meadows. He does not whimper but makes small thin sounds of delight.

Once, when the boy was ten, he woke well past midnight and saw the silvery shimmering form of a woman in a long dress or robe. She approached between two mausoleum walls, seeming not to walk but rather to glide like a skater on ice.

Crispin sat up, frightened because the woman had no substance. Moonlit objects behind her were visible through her.

She neither smiled nor threatened. Her expression was solemn.

She drifted to a stop about two yards from them, her bare feet a few inches above the grass. For a long moment, she gazed upon them.

Crispin felt that he should speak to her. But he could not.

Although the boy only half rose, Harley stood on all fours. Clearly, the dog saw the woman, too. His tail wagged.

When she moved past them, Crispin caught the scent of perfumed ointment. Harley sniffed with what seemed to be pleasure.

The woman evaporated as if she were a fog phantom encountering a warm current of air.

Crispin first thought she must be a ghost haunting these fields of graves. Later he wondered if he’d witnessed instead a visitation, the spirit of Saint Mary Salome, for whom the cemetery was named.

Over the past three years, since he was nine, the boy has lived in this city by his wits and by his daring. He has enjoyed little human companionship or charity.

He doesn’t spend every night in the cemetery. He sleeps in many places to avoid following a routine that might leave him vulnerable to discovery.

In places more ordinary than cemeteries, he and the dog often see extraordinary things. Not all their discoveries are supernatural. Most are as real as sunlight and starlight, and some of those things are more terrible than any ghost or goblin could be.

This city—perhaps any city—is a place of secrets and enigmas. Roaming alone with your dog in realms that others seldom visit, you will glimpse disturbing phenomena and strange presences that suggest the world has dimensions that reason alone cannot explain.

The boy is sometimes afraid, but never the dog.

Neither of them is ever lonely. They are family to each other, but more than family. They are each other’s salvation, each a lamp by which the other finds his way.

Harley was abandoned to the streets. No one but the boy loves this mixed-breed canine, which appears to be half golden retriever and half mystery mutt.

Crispin was not abandoned. He escaped.

And he is hunted.

2

Three years earlier …

Crispin, only nine years old, is two days on the run, having fled a scene of intolerable horror on a night in late September. He has no one to whom he can turn. Those who should be trustworthy have already proven to be evil and to be intent on his destruction.

Of the eleven dollars in his possession when he escaped, he now has only four. He has spent the rest on food and drink purchased from vendors with street-corner carts.

The previous night, he slept in a nest of shrubbery in Statler Park, too exhausted to be fully wakened even by the occasional sirens of passing police cars or, near dawn, by the racket of sanitation workers emptying park trash cans into their truck.

On Monday he spends a couple of the daylight hours visiting the library. The stacks are a maze in which he can hide.

He is too much in the grip of fear and grief to be able to read. Now and then he pages through big glossy travel books, studying the photos, but he has no way of getting to those far, safe places. The children’s picture books that once amused him no longer seem at all funny.

For a while he walks along the banks of the river, watching a few fishermen. The water is gray under a blue sky, and the men seem gray, too, sad and listless. The fish are not biting.

Most of the day he wanders alleyways where he thinks he is less likely to encounter those who are surely looking for him. Behind a restaurant, a kitchen worker asks why he isn’t in school. No good lie occurs to him, and he runs from her.

The day is mild, as were the previous day and night, but suddenly it grows cool and then cooler in the late afternoon. He is wearing a short-sleeved shirt, and the gooseflesh on his bare arms may or may not be caused by the chilly air.

In a vacant lot between a drugstore and a marshal-arts dojo, a Goodwill Industries collection bin overflows with used clothing and other items. Rummaging among those donations, Crispin finds a gray wool sweater that fits him.

He takes also a dark-blue knitted toboggan cap. He pulls it low over his forehead, over the tops of his ears.

Perhaps a nine-year-old boy alone will only call attention to himself by such an effort at disguise. He suspects that the simple cap is, on him, flamboyant. He feels clownish. But he does not strip it off and toss it away.

He has walked so many alleys and serviceways, has darted across so many avenues into so many shadowed backstreets, that he has become not merely lost but also disoriented. The walls of buildings appear to tilt toward or away from him at precarious angles. The cobblestone pavement under his feet resembles large reptilian scales, as though he is walking on the armored back of a sleeping dragon.

The city, always large, seems to have become an entire world, as immense as it is hostile.

With the disorientation comes a quiet desperation that compels Crispin at times to run when he knows full well that no one is in immediate pursuit of him.

Shortly before dusk, in a wide alleyway that serves ancient brick warehouses with stained-concrete loading docks, he encounters the dog. Golden, it approaches along the east side of the passage, in a slant of light from the declining sun.

The dog stops before Crispin, gazing up at him, head cocked. In the last bright light of day, the animal’s eyes are as golden as its coat, pupils small and irises glowing.

The boy senses no threat. He holds out one hand, and the dog nuzzles it for a moment.

When the dog walks past, the boy hesitates but shuffles after him. Unlike his follower, the animal seems to know where he is going, and why.

Cracked concrete steps lead up to a loading dock. The big bay roll-downs are shut, but a man-size door proves to be unlocked and ever-so-slightly ajar.

The dog nudges the door open. With a swish of his white tail, he disappears inside.

Crossing the threshold into darkness, Crispin withdraws a small LED flashlight from a pocket of his jeans. The flash was once in his nightstand drawer. He took it when he fled his home in the first minutes after midnight.

As sharp as a stropped razor, the white beam cuts through the gloom, revealing a long-abandoned, windowless space large enough to serve as a hangar for jet airliners. High overhead are storage lofts and catwalks.

Everything is shrouded in gray dust. Rust as layered as pastry dough flakes and peels from metal surfaces.

Scattered across the concrete floor are rat bones and the shells of dead beetles. Old playing cards spotted with mold. Here a one-eyed jack, there a queen of hearts and a king of clubs, and there four sixes laid out side by side. Cigarette butts. Broken beer bottles.

The flashlight finds a spider crawling on a low-hanging loop of cable, projecting its enlarged shadow on a wall, where it creeps like a creature in one of those old movies about insects made enormous by atomic radiation.

Without need of the flashlight, the dog finds his way around the sprays of glass. In such an odorous place, most dogs would weave from smell to smell, their noses to the floor. But this one carries his head high, alert.

At the north end of the great room are three doors leading to three offices, each with a window looking out upon the warehouse. Two doors are closed, the other ajar.

Beyond the gap between the third door and the jamb, an amber light pulses.

Crispin halts, but the dog does not. After a hesitation, the boy follows the animal into the illumined chamber.

Between two groups of fat candles—three to his left, three to his right—a man in his late twenties sits with his back against a wall, his legs straight out in front of him.

His glassy blue eyes stare but do not see. His mouth hangs open, but he has used all the words that he was born to speak.

Beside one trio of candles lies a sooty spoon. Next to the spoon is a plastic packet from which spills a white powder. In his lap lies a hypodermic syringe emptied of its contents.

The right sleeve of his checkered shirt is rolled up past the crook of his elbow, where blood earlier trickled from a puncture. Evidently he had some difficulty finding the vein.

Crispin is not afraid in the presence of a dead man. He has recently witnessed much worse than this.

With a keen intention more human than canine, the dog goes to a backpack lying beyond the candles, takes one of its straps between his teeth, and drags it away from the corpse.

The boy supposes that the bag must contain dog treats. On his knees, searching the various compartments, however, he finds no evidence that the dead man ever provided for the animal.

A quick scan of the dust-covered floor and the few paw prints suggests that the dog has never been here before, that he was led here by scent, not by experience. Yet …

Among the greasy, mostly worthless possessions of the deceased, Crispin discovers two stuffsacks full of currency rolled into tight bundles and held together by rubber bands. There are wads of five-, ten-, and twenty-dollar bills.

The money is most likely stolen or otherwise dirty. But no one, not even the police, will be likely to discover from whom the dead man has swiped this fortune or by what illegal activity he might have earned it.

Taking money from the body of a homeless loner surely can’t be theft. The man has no need of it anymore.

Nevertheless, the boy hesitates.

After a while, he feels that he is being watched. He looks up, half expecting that the corpse’s gaze has shifted toward him.

Eyes bright with candlelight, the dog studies him, panting softly as if in expectation.

Crispin has nowhere to go. And if he thinks of somewhere to go, he currently has only four dollars to get there.

The dog seems not to have belonged to the dead man. Whatever his provenance, however, Crispin will need to feed him.

He returns the wads of cash to the stuffsacks and pulls tight the drawstring tops. The backpack is too big for him. He will take only the money.

At the threshold, Crispin glances back. Candlelight creates an illusion of life in dead eyes. With reflections of flame throbbing across the slack face, the drug addict seems to be a man of glass, a lamp aglow from within.

As they retrace their steps through the enormous warehouse, the dog halts to sniff one of the moldy playing cards lying on the floor. It is the six of diamonds.

When Crispin passed this way earlier, four sixes had lain at this spot, one in every suit.

He surveys the immense dark room, probing this way and that with the flashlight. No one appears. No voice threatens. He and the dog seem to be alone.

The LED beam, arcing across the littered floor, cannot locate the missing sixes.

Outside, in the alleyway, the western sky is crimson, but the twilight is overall purple. The very air seems violet.

In a pet shop on Monroe Avenue, he buys a collar and leash. From now on, the dog will wear the collar at all times, so that he will not appear to be a stray. Crispin will use the leash only on public streets, where there is a risk of attracting the attention of an animal-control officer.

He also buys a bag of carob biscuits, a metal-toothed grooming comb, and a collapsible water dish.

At a sporting-goods store, he ties the dog to a lamppost and leaves him long enough to go inside and buy a backpack of the size that kids need to carry books to and from school. He puts the stuffsacks of money and his pet-store purchases in the pack.

Their dinner is hot dogs from a street vendor. Coke for the boy, bottled water for the dog.

At a novelty store specializing in magic tricks and games of all kinds, Crispin window-shops for a minute or two. He decides to buy a deck of cards, though he’s not sure why.

As Crispin is tying the dog to a rack designed for securing bicycles against theft, the owner of the novelty store opens the door, causing a silvery ringing from an annunciating bell. He says, “Come, lad. Dogs are welcome here.”

The owner is elderly, with white hair and bushy white eyebrows. His eyes are green, and they sparkle like sequins. He wears six emerald rings on various fingers, all as green—but none as sparkly—as his eyes.

“What is your pooch’s name?” the old man asks.

“He doesn’t have one yet.”

“Never leave an animal unnamed for long,” the old man declares. “If it doesn’t have a name, it’s not protected.”

“Protected from what?”

“From any dark spirit that might decide to take up residence in it,” the old man replies. He smiles and winks, but something in his merry eyes suggests that he is not kidding. “We’re closing in fifteen minutes,” he adds. “Can I help you find something?”

A few minutes later, as Crispin pays for the deck of cards, a white-haired woman ascends from the basement and comes through an open door with a large but apparently not heavy box of merchandise. She has a smile as warm as that of the man, who is perhaps her husband.

When she sees the dog, she halts, cocks her head, and says, “Young fella, your furry friend here has an aura that a pious archbishop couldn’t match.”

Crispin has no idea what that means. But he thanks her shyly.

As the woman busies herself restocking a case of magic tricks, and as the many-ringed old man explains a three-dimensional puzzle to another customer, Crispin takes bold action that surprises him. With the dog, he goes to the open door and down the stairs to the basement, unnoticed by the proprietors of the shop.

Below lies a storeroom with rows of freestanding metal shelves crammed with merchandise. There is also a small lavatory with sink and toilet.

Boy and dog take shelter behind the last row of shelves. Here, they can’t be seen from the stairs.

Crispin doesn’t worry that the dog might bark and reveal their presence. He already knows that, in some mysterious way, he and this animal are in synch. He unclips the leash from the collar, coils it, and puts it aside.

After a while, the lights are switched off from the top of the stairs. The door closes up there. For a few minutes, footsteps echo overhead, but soon all is silent.

They wait in the dark until they can be certain the store is closed for the night. Eventually, they make their way back through the stockroom, along the metal shelves, to the foot of the stairs.

Crispin is blind, but perhaps the dog is not. The boy fumbles for the light switch at the bottom of the steps. The dog, standing on its hind feet, finds it first, and the overhead fixtures brighten.

On one shelf, Crispin discovers a stack of quilted blue moving blankets. With them, he makes a bed in a corner, on the floor.

While Crispin strips the rubber bands from the wads of cash and places the flattened bills in three stacks according to denomination, he feeds the dog some of the cookies that he bought at the pet shop.

Together they count their fortune. Crispin announces the total—“Six thousand, seven hundred, forty-five dollars”—and the dog seems to agree with his math. He rolls the money into tight bundles again and returns them to the stuffsacks.

They will not starve. With this much money, they will be able to hide out for a long time, moving every night to a new refuge.

Exhausted, the boy lies back in the pile of blankets. The dog curls up beside him, its head on his abdomen.

Crispin gently rubs behind the dog’s ears.

As sleep is descending upon him, the boy thinks of the dead drug addict, mouth yawning and teeth yellow in the candlelight. He shivers but surrenders to his weariness.

In the dream, Crispin’s younger brother lies on a long white-marble table. His hands and feet are shackled to steel rings. A hard green apple is crammed into his mouth, stretching his jaws painfully. The apple is held in place by an elastic strap that is tied securely at the back of the boy’s head. His teeth are sunk into the fruit, but he isn’t able to bite through it and spit out the pieces.

The raised dagger has a remarkable serpentine blade.

Like a shining liquid, light drizzles along the cutting edge.

The cords of muscle in Crispin’s brother’s neck are taut. The arteries swell and throb as his heart slams great tides of blood through his body.

The apple stifles his screams. He seems also to be choking on a flood of his own saliva.

Crispin wakes in a sweat, crying his brother’s name: “Harley!”

For a moment he doesn’t know where he is. But then he realizes that he is under the shop of magic and games.

You can undo what has been done and still save them.

Those words whisper through his mind, but they seem like nothing more than wishful thinking.

When the terror recedes, he knows that he has found the perfect name for the dog. It is a name that will protect the animal from any malevolent spirit that might wish to enter him.

“Harley,” Crispin repeats softly. He names the dog for his lost brother. “Harley.”

The dog gently but insistently licks his hand.

3

All these years later …

The night is cool, the sky deep, the stars as sharp as stiletto points.

At twelve, Crispin is strong and tougher than any boy his age should have to be. His senses are sharp, as is his intuition, as if from his association with four-legged Harley, he has acquired some of the dog’s keen perceptions.

This October night, the streets are filled with goblins and witches, vampires and zombies, sexy Gypsy women and superheroes. Some hide behind masks that look like certain despised politicians, and others wear the faces of leering swine, red-eyed goats, and serpents with forked tongues.

These people are on their way to parties in seedy lounges, in modest workingmen’s clubs, and in the ballrooms of older hotels that are desperate to have a profitable night in this economy that has been a mean Halloween for more than three years.

In this lower-middle-class district, Crispin feels safe enough to wander the streets, scoping the scene, enjoying the costumes and the bustle and the decorations. Halloween is swiftly becoming one of the biggest holidays of the year.

The people whom he fears are not of this neighborhood. They are not likely to descend to these streets for any celebration. Their tastes are more expensive and more exotic than anything that can be provided here.

Three months have passed since his most recent encounter with them. They had almost caught him in an old elementary school slated for eventual demolition.

His mistake then was to spend too many nights in the same place. If he remains on the move, they have greater difficulty locating him.

Crispin doesn’t know why being stationary too long puts him at risk. It’s as if his scent becomes concentrated when he lingers in one place.

He knows the legend of the Wandering Jew who struck Christ on the day of the crucifixion and was then condemned to roam the world forever without rest. Some say this condemnation was in fact an act of grace because the devil can’t find and take a man whose remorse drives him to wander ceaselessly in search of absolution.

In addition to his good dog, Crispin’s constant companion is remorse. That he could not save his brother. That he could not save his little sister. That he was so long blind to the truth of their stepfather and to the treachery of their unloving mother.

Now he and Harley pass a two-story buff-brick building that houses the local VFW post. The structure seems to tremble and swell with the muffled backbeat of a band playing an old Beatles tune, as if such rock and roll can’t be constrained without risk of explosion.

A wave of laughter and chatter and louder music washes across the sidewalk when two men, fumbling packs of cigarettes from their pockets, push open the door and step outside for a smoke. One is dressed as a pirate. The other wears a tuxedo, a fake goatee, and a pair of horns.

They glance at Crispin. The devil thumbs flame from a butane lighter.

The boy looks away from them. He takes up the slack in the leash, and brings the dog to his side.

Fifty yards or so from the VFW post, he dares to look back, half expecting the men to be following him. They are where he last saw them, smoke pluming from their mouths as if their souls must be on fire.

At the end of the block is a nightclub called Narcissus. No smokers loiter outside. The windows are two-way mirrors, offering no view of the interior.

A tall man stands beside a taxi. He assists a woman from the vehicle.

His dark hair is slicked back. His cheeks are rouged, his lips bright red. His face is painted like that of a ventriloquist’s dummy, with prominent laugh lines from his nose to the corners of his mouth. The woman’s makeup matches the man’s.

Attached to their white clothes at key points are thick black strings that have been broken. They are not costumed as ventriloquists’ dummies but instead as marionettes freed from their puppet master.

The man says to Crispin, “What a handsome dog,” and the woman says, “Your sister tasted so sweet.”

The encounter is by chance, but you can be killed by chance as easily as by someone’s design.

The dog runs, the boy runs, the man snares the boy by his jacket, the leash jerks from the boy’s hand, and the boy falls …

4

Before Crispin went on the run …

He lives with his younger brother, Harley, and his little sister, Mirabell. They share a house with their mother, Clarette.

Each child has a different father because many men are drawn to their mother.

Clarette is so beautiful that one of her in-between boyfriends—in between the rich ones—tells Crispin, “Kid, your mom she’s like the magical princess in some fairy-tale cartoon movie, how she can charm kings and princes, even make animals and trees and flowers swoon and sing for her. But I never did see a cartoon princess as smokin’ hot as she is.”

At that time Crispin is seven years old. He understands the princes, animals, trees, and flowers part. Years will pass before he knows what “smokin’ hot” means.

Their mother is drawn to many men, not because their beauty matches hers but because of what they are able to do for her. She says that she has expensive tastes and that her “little bastards” are her ticket to the good life.

Each of their fathers is a man of great prominence for whom the existence of a little bastard would not only be an embarrassment but also a wrecking ball that might smash apart his marriage and lead to an expensive divorce.

In return for specifying on each birth certificate that the father is unknown, Clarette receives a one-time cash payment of considerable size and a smaller monthly stipend. The children live well, though not nearly as well as their mother, because she spends far more freely on herself than on them.

One night, she enjoys too much lemon vodka and cocaine. She insists that eight-year-old Crispin cuddle with her in an armchair.

He would rather be anywhere else but in her too-clingy arms and within range of her exotic breath. When she is in this condition, her embrace seems spidery, and for all her expressions of affection, he expects that something terrible will happen to him.

She tells him then that he ought to be grateful that she is so smart, so cunning, and so tough. Other women who make their living by giving birth to little bastards are likely sooner or later to have a well-planned accident or to become a victim of a supposedly random act of violence. Rich men do not like to be played for fools.

“But I’m too quick and bright and clever for them, Crispie. No one will take your mommy from you. I’ll always be here. Always and always.”

Time passes and change comes.…

The change is named Giles Gregorio. He makes the other rich men in Clarette’s life seem like paupers. His wealth is inherited and so immense as to be almost immeasurable.

Giles has palatial residences all over the world. In this city, he lives atop Shadow Hill, directly across the street from the fabled Pendleton. His mansion—called Theron Hall—is not as large as the Pendleton, but large enough: fifty-two rooms, eighteen baths, and a maze of hallways.

When Giles intends to be in town, twenty servants precede him by a week, readying the great house. Among them are one of his personal chefs, his junior butler, and his junior valet.

Two weeks after Clarette meets the multibillionaire, cuddling again with her oldest son, once more under the spell of lemon vodka, she speaks of a glorious future. “I’ve changed my business model, Crispie. No more little bastards. No more, no more. Mommy’s going to be richer than she ever dreamed of being.”

Just a week later, three weeks after Giles met Clarette, they are married in a private ceremony so exclusive that even her three children are not in attendance. In fact, watching arrivals from a high window, Crispin thinks that fewer than twenty people come to Theron Hall on the day and that more servants than guests must be witness to the wedding.

Crispin is nine then, Harley seven, Mirabell six.

He and his younger siblings are confined to a second-floor drawing room for the duration of the celebration, where they are showered with fabulous new toys, fed all their favorite foods, and watched over by Nanny Sayo, who is Japanese. Petite and pretty, with a soft, musical voice, Nanny Sayo is quick to laugh, but any test of her authority is met with the displeasure of a stern disciplinarian.

Following the wedding, all the many servants at Theron Hall are respectful of the children and even treat them with affection. But it seems to Crispin that when these people smile, the expression in their eyes does not match the curve of their lips.

Yet life is good. Oh, it is grand.

The children eat only what they like.

They go to bed only when they wish.

Each rises to his or her own clock.

They are schooled at home by a tutor, Mr. Mordred. He is deeply knowledgeable in all subjects. He is most entertaining and can make any topic interesting.

Mr. Mordred is a jolly man, not exactly fat but well-rounded, and sometimes he tells little Mirabell that she looks good enough to eat, which always makes her giggle.

Perhaps the best thing about Mr. Mordred is that he doesn’t press them hard on their lessons. He allows them to break frequently for play, in which he often leads them.

When they are mischievous, he sometimes encourages them. When they are in a lazy mood, Mr. Mordred says that any child who isn’t lazy must not be a child at all but instead a dwarf masquerading as one.

On his left temple, Mr. Mordred has a black birthmark shaped exactly like a horsefly. When any of the children puts a finger to this oddity, Mr. Mordred makes a buzzing sound.

Now and then he pretends to mistake this image of a fly for the real thing. He twitches as if annoyed and slaps at the imagined insect with the flat of his hand, which always makes the children burst into laughter.

If Crispin were burdened with such a birthmark, he would be self-conscious about it, even embarrassed. He admires Mr. Mordred for finding reason to be amused even by this disfigurement.

One day, three weeks after the wedding, Crispin and Harley and Mirabell spend a couple of hours sprawled on the library floor with bundles of new children’s picture books and lots of cool comic books that Giles has bought for them. When at last they become bored, Nanny Sayo retrieves the scattered reading material to stack it on a table.

At one point, Crispin turns and finds himself standing over the woman as she kneels to gather the discarded comics. He is looking down the scooped neck of her blouse, where he sees on the curve of one breast a birthmark identical to that on Mr. Mordred’s forehead.

As if she is aware of his attention, Nanny Sayo begins to raise her head. Crispin turns away, flustered, before their eyes can meet.

Although he is only nine, he is embarrassed to have been staring at her breasts, the sight of which has affected him in some new and disturbing way that he can’t define. His face burns. His heart knocks so loud he thinks Nanny Sayo must hear it.

Later, in bed, he wonders how Mr. Mordred and Nanny Sayo can have the same birthmark. Maybe it’s something contagious, like a head cold or the flu.

He feels sorry for Nanny Sayo, though at least her disfigurement is in a less visible place than Mr. Mordred’s.

That night he dreams of Nanny Sayo dancing naked in firelight. She has several horsefly birthmarks, not just one, and they are not fixed. They crawl across her skin.

Crispin wakes in the morning with a fever, plagued by nausea and aching muscles.

His mother says that he’s just caught a virus. Antibiotics won’t help him cast off a virus. He must remain in bed a day or two until it passes. She sees no need to call a doctor.

During the day, Crispin reads and takes short naps and reads again. The book is an adventure story set at sea and on various tropical islands.

Although the author has kept the tone light and has never put the young leads in any danger that they couldn’t handily escape, although no characters in the novel are named Crispin or Harley or Mirabell, near twilight he turns the last page and reads this line: And so the little bastards were slaughtered, Mirabell and then Harley and last of all young Crispin, slaughtered and left to rot, to be fed upon by rats and sharp-beaked birds.

In disbelief, Crispin reads the line again.

His heart races, and he cries out, but the cry largely dies in his throat. He drops the book, throws off the covers and erupts from bed. As he gets to his feet, dizziness overcomes him. He totters a few steps, collapses.

When he regains consciousness, he knows that little time has passed because the formerly pending twilight has just arrived. The sky beyond the windows is purple pressing toward a red horizon.

His dizziness has passed, but he feels weak.

He gets to his knees, claws the book from the bed, and dares to read the last page again. The words he saw before are gone. No mention is made of Mirabell, Harley, Crispin, slaughter, rats, or sharp-beaked birds.

With trembling hands, he closes the book and puts it on the nightstand.

Wondering if a delusion born of fever had put the words before him on the page, he returns to bed. He is more worried than afraid, but then more confused than worried, and finally exhausted.

A chill overtakes him. He pulls the covers up to his chin.

When Nanny Sayo rolls a service cart into his room with a bed tray that holds his dinner, Crispin first intends to tell her about the threatening words in the book. But he is embarrassed to have been so frightened by something that, in the end, proved to be entirely imaginary.

He doesn’t want Nanny Sayo to think he is, at nine years of age, still a big baby. He wants her to be proud of him.

His sick-boy dinner consists of lime Jell-O, buttered toast, hot chocolate, and chicken noodle soup. Anticipating that her patient might not have much appetite, that he might take his dinner in fits and starts, Nanny Sayo has put the chocolate and the soup in separate thermos bottles to ensure that they stay warm.

When Crispin expresses disinterest in the food, Nanny Sayo leaves the footed tray on the cart.

She perches on the edge of his bed and urges him to sit up. As Crispin leans against the headboard, Nanny Sayo takes his hand to time his pulse.

He likes watching her face as she stares solemnly at his wrist, counting his heartbeats.

“Just a little fast,” she says.

A curious disappointment overcomes him when she lets go of his wrist. He wishes she would continue to hold his hand, though he does not know why he has this desire.

He is consoled when she presses one hand to his forehead.

“Just a little fever,” she says, though it seems to him that her palm and slender fingers are hotter than his brow.

To his surprise, she undoes the first two buttons of his pajama top and places her delicate hand on his chest. She has already taken his pulse. He doesn’t understand why she would need to feel the thump of his heart, if that is indeed what she’s doing.

She moves her hand slowly back and forth. Slowly and smoothly. Smoothly.

He almost feels that she could make him well just by her touch.

Removing her hand from his chest, leaving the buttons undone, she says, “You’re a strong boy. You’ll be well soon. Just rest and eat all your dinner. You need to eat to get well.”

“All right,” he says.

She stares into his eyes. Her eyes are very dark.

She says, “Nanny knows best.”

In her eyes, he sees twin reflections of himself.

“Doesn’t Nanny know best?” she asks.

“I guess so. Sure.”

He sees the moon in her eyes. Then he realizes it is only a reflection of his bedside lamp.

“Trust Nanny,” she says, “and you’ll get well. Do you trust Nanny?”

“Oh, yes.”

“Eat your dinner before you go to sleep.”

“I will.”

“All your dinner.”

“Yes.”

Leaning forward, she kisses his brow.

She meets his eyes again. Her face is very close to his.

“Trust Nanny.”

On her breath is the scent of lemons as she kisses one corner of his mouth. Her lips are so soft against the corner of his mouth.

Nanny Sayo is almost to the door before Crispin realizes that she has risen from the edge of his bed.

Before stepping into the hallway, she looks back at him. And smiles.

Alone, watching TV but comprehending none of what he sees, Crispin eats the Jell-O. He eats the buttered toast and drinks the hot chocolate.

He isn’t delirious anymore, but he’s not himself, either. He feels … adrift, as though his bed is floating on a placid sea.

The chicken noodle soup will be too much. He will eat it later. Nanny Sayo has said that he must.

After returning the tray to the cart and after visiting the bathroom—he has one of his own—Crispin settles in bed once more.

He turns off the TV but not the bedside lamp. Night waits at the windows.

Tired, so tired, he closes his eyes.

In spite of having eaten the toast and drunk the hot chocolate, he can still vaguely taste her lemony kiss.

He dreams. He would not be surprised if he dreamed of Nanny Sayo, but he dreams instead of Mr. Mordred, their teacher.

Crispin, Harley, and Mirabell are sitting at a reading table in the library. Mr. Mordred strides back and forth in front of a row of bookshelves, holding forth on some subject, delighting them with his stories. In the dream, Mr. Mordred doesn’t have a horsefly birthmark on his left temple. His entire head is that of a giant horsefly.

Dream leads to dream, to dream, until he is awakened by a sound. A swishing-scraping noise.

The clock reads 12:01 A.M.

So weary that he can’t fully sit up, Crispin lifts his head from the pillow just far enough to survey the room for the source of the noise.

The bed tray stands on the cart, where he last put it. On the tray, the thermos of chicken soup wobbles around and around on its base, as if something inside is turning, spinning, impatient for Crispin to unscrew the cap and pour it out.

He must be delirious again.

Lowering his head to the pillow, closing his eyes, he thinks of her slender hand upon his chest, and soon he sleeps.

In the morning when he wakes, the cart is gone and the tray with it. He hopes that a maid removed it and that Nanny Sayo will not have to know that he failed to eat her soup.

He never wants to disappoint her.

Crispin loves his nanny.

In two days, he regains his health.

When he is well again, after showering, he stands naked in the bathroom, studying himself in a full-length mirror, searching for the detailed silhouette of a horsefly. He can’t find one.

For reasons he is unable to put into words, he believes that he has narrowly escaped something worse than a birthmark.

His embarrassment and worry do not last. Soon he lapses back into the relaxed and carefree rhythms of Theron Hall.

Crispin, Harley, and Mirabell eat only what they like. Chef Faunus and Cook Merripen cater to their every desire.

They go to bed only when they wish.

Each rises to his or her own clock.

Mr. Mordred entertains. Nanny Sayo attends the children’s needs.

The world beyond the great house has been fading from Crispin’s mind. Sometimes, passing a window, he is surprised to see the city, the Pendleton looming across the street.

Shortly before midnight on July 25, having been in bed less than two hours, Crispin swims up from a troubled sleep. Half awake, he sees two shadowy figures in his room, the place brightened only by the hallway light that seeps in through the door, which is ajar no more than two inches.

The visitors are talking softly to each other. One voice is that of Giles, whom the children now call Father. The other belongs to Jardena, Giles’s mother.

Jardena looks old enough to be her son’s great-grandmother. She keeps almost entirely to her suite of rooms on the third floor. She is withered, her face as drawn as a sun-dried apple, but her eyes as lustrous and purple as wet grapes. She’s seldom seen, almost always at a distance, at the farther junction of hallways, floating by in one of her long dark dresses.

Crispin hears little of what they say, though it seems that tomorrow is some kind of memorial or feast day. Before he slides away into sleep once more, the boy hears the names Saint Anne and Saint Joachim.

When he wakes in the morning, Crispin is not sure that the visitors to his room were real. More likely, they were part of his otherwise unremembered dream.

In the coming night, something happens to Mirabell.

5

Halloween, three years and three months later …

The leash jerks from the boy’s hand, and he falls.

The previously gentle dog, never having growled, does not growl now, but bites. He nips at the ankle of the male marionette in the white suit, who cries out and lets go of Crispin’s jacket.

The boy sprints after the dog, away from the nightclub called Narcissus. They plunge into the street, dodging cars as brakes shriek and horns blare.

From the comparative safety of the next sidewalk, Crispin looks back across the street and sees the man on one knee, examining his bitten ankle. The woman in white is talking on a cell phone.

Crispin snatches up the dropped leash, and the dog sets off with purpose. He and Harley weave between the pedestrians, half of whom are costumed for Halloween, half not.

When the hunters are hot on the scent, some places are safer than others. Certain churches, not all, seem to foil these particular pursuers. Sanctuary can be found in that kind of church—whether Baptist or otherwise—in which, on Sundays, rollicking gospel songs are sung with gusto and booming piano. Churches in which Latin is sometimes spoken, candles are lit for the intention of the dead, incense is sometimes burned, and fonts of holy water stand at the entrances—those are also secure. Synagogues are good refuges, too.

Right now, he and Harley are a few dangerous blocks from any such a safe haven.

Reverend Eddie Nordlaw, who founded the Crusade for Happiness and who appears Sundays on his TV show, The Wide Eye of the Needle, preaches that God wants everyone to be rich. He operates from his megachurch, the Rapture Temple, on Joss Street, which is not far from here.

But Crispin has learned the hard way that the Rapture Temple offers no more protection against these enemies than does a shopping mall. Or a police station.

On the day of his mother’s wedding, when he watched from a high window, one of the honored guests whom he saw arriving was the chief of police.

Pedestrians admonish and curse Crispin as he pounds pell-mell after the bolting dog, holding fast to the leash and trying not to be jerked off his feet.

Water in motion can also screen Crispin from Giles Gregorio and everyone like him. A rushing stream, if it is wide enough, thwarts them. Even if the boy stands on the farther bank from them, in plain sight, they seem unable to see him and eventually give up the search.

In Statler Park, a man-made waterfall tumbles into a fake-rock pond. A narrow pathway allows you to walk behind the falls, where there is a grotto. In that sequestered hollow, you can look out toward the park, through the cascades. The hunters must know of that retreat; but Crispin has several times been safe there while they stalked him through the rest of the grounds.

Rushing torrents seem not only to deny them his scent but also to confuse their senses, as though the swish and burble of the water is not merely sound but also a language, as if Nature is speaking a dispensation to spare him from their homicidal fury.

He and the dog are at this moment far from Statler Park and no nearer any rushing stream. Their best hope is Memorial Plaza, two acres of granite cobblestones, raised planters full of flowers, and benches on which people sit to read the morning paper, to have a bite of lunch, to feed the pigeons, and even to contemplate the sacrifices made by soldiers, sailors, airmen, and marines who have died to keep them free.

Harley knows the city as well as Crispin does. Soon cobblestones are underfoot. At this hour, the lamplit plaza is deserted because, for everyone except Crispin and his dog, such places are dangerous after dark in this part of town.

At the center of Memorial Plaza, on a granite plinth twelve feet in diameter, stand three larger-than-lifesize bronze figures: marines in battle gear, one of them wounded and leaning on another, the third carrying Old Glory as if defiantly announcing their location to an adversary they do not fear.

These days, the city is operating with such an enormous budget deficit that the plaza lamps and the spotlights on the statuary are extinguished at nine o’clock to save electricity. All is dark but for the lunar lamp.

The sounds of celebrations ring in from surrounding streets.

Harley springs onto the plinth, and Crispin scrambles after him. The slab of granite is carved to represent a stony outcrop, as if the bronze marines stand atop a battle-blasted hill. Among those sculpted rocks is a place where a boy and a dog can nestle.

They are less than half concealed. Even without the spotlights that used to wash the statues, the boy and the dog should be visible to anyone passing by, for the moon is full.

Yet Crispin is confident that they are safe. They are safe in the company of these bronze heroes.

The woman in white, black strings dangling, rushes into the plaza. Moonglow powders her marionette face, and her blood-red lips look black.

While the woman surveys her surroundings, the boy half believes that he can hear her doll eyes click-click-clicking as she blinks, as if she is in fact an animated puppet.

Her gaze passes over him from right to left, then slowly left to right.…

She doesn’t hesitate or come closer. She turns and moves away toward another part of the plaza.

Proximity to certain symbols and images can make boy and dog invisible to this woman’s kind, as surely as does swift-moving water. Statues honoring acts of courage and valor. Certain religious figures carved or cast life-size or larger. The immense mural of Aleksandr Solzhenitsyn on the front wall of the Russian-American Community Center. The huge cast medallion of America’s sixteenth president embedded above the main entrance of Lincoln Bank on Main Street.

A cross or a serviceman’s medal worn around the neck will not provide invisibility. The symbol needs to be of substantial size to be effective, as if the noble efforts and the determination of those who created and erected it are as important as the symbol or image itself.

The dog-bitten man in the white suit appears, limping. Soon there are five of them, though the others are not costumed, prowling the plaza and its immediate surroundings.

Although it is ancient, the silver moon looks newly minted.

On a nearby street, a drunken reveler howls like a werewolf.

The moon is without menace. It neither favors evil nor calls to those who do.

This is what Crispin believes at the age of twelve: By the light of the moon, truth can be seen as easily as by any other light. Year by year, he will refine that perception into a greater wisdom that will sustain him.

To see the truth, however, you must have an honest eye.

Across the plaza, the marionettes and their allies, who love lies, search for the boy and his dog, unaware that they are incapable of seeing that for which they seek.

6

July 26, three years and three months earlier …

Having been healed by the power of his nanny’s kiss or having been healed in spite of it, nine-year-old Crispin falls again into the cozy rhythms of Theron Hall. The world outside seems less real than the kingdom within these walls.

For some reason, Mirabell is excused from the day’s lessons. The three-year age difference between Crispin and his sister ensures that he is less interested in what she’s engaged upon than he would be if she were only a year younger or were his twin.

Besides, girls are girls, and boys are most like boys when girls aren’t around. Therefore, Mr. Mordred is even more interesting and entertaining when he is able to focus his attention on Crispin and Harley, with no need to tailor part of his lesson to a girl so small that her brothers sometimes call her Pip, short for pipsqueak.

Lessons begin at nine and are finished by noon. After lunch, Crispin and Harley intend to play together, but somehow they go their separate ways.

Most likely, Brother Harley is on a cat hunt. Recently, he has claimed to have seen three white cats slinking along hallways, across rooms, ascending or descending one staircase or another.

Nanny Sayo says there are no cats. Both the chief butler, Minos, and the head housekeeper, the formidable Mrs. Frigg, agree that no felines live in Theron Hall.

No cats are fed here and in this immaculate residence, no mice exist on which the cats might feed themselves. No disagreeable evidence of toileting cats has been found.

The more the staff dismisses the very idea of cats, the more that Harley is determined to prove they exist. He has become quite like a cat, creeping stealthily through the immense mansion, trying to sniff them out.

He claims to have nearly captured one on a couple of occasions. These elusive specimens are even faster than the average cat.

He says their coats are as pure-white as snow. Their eyes are purple but glow silver in the shadows.

Considering that Theron Hall offers over forty-four thousand square feet in its three floors and basement, Crispin figures that his brother might be engaged in a search for the phantom cats that will last weeks if not months before he tires of his fantasy.

At four o’clock on the afternoon of July 26, Crispin is in the miniature room. This magical chamber is on the third floor, across the main hallway from the suite in which the matriarch, Jardena, withers in reclusion.

The space measures fifty feet in length, thirty-five feet in width. Clearance from floor to ceiling is twenty-six feet.

In the center of this room stands a one-quarter scale model of Theron Hall. The word miniature seems inadequately descriptive, because each linear foot of the great house is reduced only to three inches in this representation. Whereas Theron Hall is 140 feet from end to end, the miniature is thirty-five feet. The real house is eighty feet wide, and the reduced version is twenty. The fifteen-foot-high likeness stands on a four-foot-high presentation table with solid sides rather than legs.

The model is such a painstakingly accurate rendering of the mansion that it’s endlessly fascinating to Crispin. The walls are made of small blocks of limestone, cut thin to minimize the weight, but seemingly thick. The carved ornamentation in the window pediments and in the door surrounds match perfectly to the real thing. The balconies, the richly designed cornice, the balustrade that serves as a parapet, the nearly flat ceramic-tile roof, the chimney stacks with bronze caps have all been re-created with obsessive attention to detail. The window frames are bronze, with genuine glass for the panes.

Through the windows, he can study rooms precisely as they are in the true house. The miniaturized library features shelves and paneling of select walnut, exactly as does the life-size inspiration. Even the furnishings and the artwork have been reproduced by a team of modelers who must have worked thousands upon thousands of hours to complete this magnificent reproduction.

A wheeled and motorized mahogany ladder with handrails and a safety tether rises to an oval stainless-steel track on the ceiling, allowing an observer to circle the model, peering in the windows at any level. At various points on the ladder are controls with which he can power it left or right, or stop it at any desired vantage point.

Of Clarette’s three children, only Crispin is permitted to climb the ladder and operate it. Other nine-year-old boys might be judged too young to deserve this permission, but Crispin is responsible for his age, and prudent. He always holds fast to the handrails and snaps the tether to his belt.

Now, as he motors the ladder to the west facade, to peer in at the ornately furnished rooms occupied by Jardena, he wonders—not for the first time—why the old woman lavished so much money on this miniature when she has the real house to enjoy.

According to Giles, his mother has always been as eccentric as his late father was industrious. The patriarch, Ehlis Gregorio, was obsessed with amassing enormous wealth, and his wife was driven to find imaginative ways to spend it. Seeking to understand the reasons for Jardena’s extravagant whims is a waste of time, because she does not understand why she undertakes such things as the model of Theron Hall. She commits to such projects, Giles says, simply because she can afford to do them, and that is all the reason she needs.

As Crispin rides the ladder, the door opens below, and his brother, Harley, rushes in from the third-floor hallway. “Crispin, come quick! You’ve got to see this.”

“There are no cats,” Crispin says. “Except the ones in that drawing-room painting, and they’re not white.”

“Not cats. Mirabell. You’ve got to see how she’s dressed.”

“She can dress any way she likes. Why would I care?”

“But this is weird.”

“She’s always playing dress-up.”

“Not like this,” Harley insisted. “Mom’s dressing her, and it’s just weird.”

Before her marriage to Giles Gregorio, Clarette never had much time for her children. She says that she prefers to play with grown men. Children are her business, she explains, not a leisure-time activity. She sports or games, or cuddles, with them only on those rare occasions when vodka and more powerful substances put her in a foolish or sentimental mood.

Since the wedding, she has become even more remote from them. If anyone is raising Crispin, Harley, and Mirabell, it is the staff of Theron Hall.

“I heard Mom say, when they finish fitting Mirabell’s new dress, they’re going to give her a bath in warm milk and rinse her with aqua pura, whatever that is.”

From high on the ladder, Crispin at last looks down at his brother. “That is weird.”

“And there’s other weird stuff like the hat they’ve made for her. You’ve got to come see.”

The model of the mansion will be here for further exploration whenever Crispin wishes to return to it.

He climbs down to a safe height before unhooking the tether and then descending the final ten rungs.

As Crispin follows his brother into the third-floor hallway, Harley whispers, “They don’t know I saw. I think Pip’s new dress is for some surprise party or something, and probably we aren’t supposed to see it until then.”

Hurrying down the back stairs, Harley explains that he was on the prowl for the mysterious white cats, alert and stealthy, when he came across the scene with their mother, Mirabell, and a housemaid named Proserpina.

Among the many chambers on the second floor are a sewing room and a gift-wrapping room. They are side by side.

Harley quietly leads Crispin into the gift-wrapping room. The single curtained window provides little light.

An interior door connects this space with the place where Proserpina, not only a housemaid but also a seamstress, repairs and alters clothes for the family and staff. The door stands about three inches ajar.

Harley crouches low, and Crispin leans over him, so they can both spy upon the activities in the sewing room.

Mirabell stands on a yard-square platform about a foot high. Their mother kneels before her, fussing with the fancy collar of the girl’s white dress. Proserpina kneels behind Mirabell, pinning the waistline of the frock for some adjustment that she apparently will make.

This is no ordinary dress. The fabric is shiny but less clingy than silk, less stiff than satin, so soft-looking. It almost seems to glow a little, as though the dress produces its own light. The cuffs and collar are made of lace, more intricate than any Crispin has previously seen.

Mirabell wears white slippers with white bows. Attached to each bow is what appears to be a cluster of red berries.

“I feel very pretty,” Mirabell says.

“You are very pretty,” their mother replies.

“These are like ballerina slippers.”

“They are a little,” Clarette agrees.

“Will we dance tonight?”

“Some of us will dance,” Clarette says.

“I know how to pirouette.”

“Yes, I’ve seen you do it.”

“This dress will really swoosh when I pirouette.”

Mirabell’s blond hair, usually straight, is curly now. Her dress glows, and her hair glimmers.

Perched on her head is not a hat, which is what Harley called it, but instead a wreath. The wreath appears to have been woven of real leaves of some kind, and with white ribbon. There seem to be acorns attached to it, as well as clusters of bright red teardrop berries like those on her slippers, three fruits in each cluster.

“If I take a bath in milk, won’t I stink?” Mirabell asks.

“No, sweetie. There are rose petals and essence of roses in the milk. Anyway, we’ll rinse you afterward with nice warm water.”

“Aqua pura.”

“That’s right.”

“What’s aqua pura?”

“The cleanest water in the world.”

“Why don’t we rinse with it every day?”

“It’s only for special occasions.”

“Does it come in a bottle?”

“Sometimes. But we’ll pour it from silver bowls. Wait till you see them, they’re very pretty bowls.”

“Cool,” Mirabell says. “Mommy, on special occasions, do you rinse in aqua pura?”

For some reason, this question so amuses Proserpina that she can’t contain a little laugh.

Clarette says, “Aqua pura is only for little girls and boys.”

Except that she doesn’t have wings, Mirabell is so beautiful that she looks like an angel in her white dress, the wreath a kind of halo.

Eye to the gap between door and jamb, Crispin is surprised by how much his sister looks like an angel. He half expects her to float off the floor and glide around the room.

Their mother says, “All right, sweetie. Let’s get you out of this dress so Proserpina can make the final alterations.”

First, their mother removes Mirabell’s slippers, and then she and the seamstress strip the dress from the girl, who stands now in her undies.

Crispin is only nine, Mirabell six. He has never before been embarrassed to see his sister in her underclothes. Strangely, he is embarrassed now, but he can’t look away.

Clarette rises to her feet, lifts the wreath off her daughter’s head, and places it on a small table that is draped in a white cloth. She handles the wreath as if it is a thing of great value.

Now another housemaid, Arula, enters the sewing room. She looks like that actress, Jennifer Aniston, but younger.

“Come, Little Bell,” says Arula. “Time for your special bath.”

Mirabell steps off the yard-square platform. In her bare feet and underclothes, she follows Arula out of the room, into the hall.

Harley eases away from his brother and moves toward the door between the gift-wrapping room and the hallway.

Lingering at the connecting door, Crispin alone hears the last exchange between his mother and Proserpina.

With evident amusement, the seamstress says, “If not aqua pura, what do you bathe in for special occasions?”

“Dragon piss,” says Clarette, and she shares a laugh with the other woman before leaving the sewing room.

Crispin has heard his mother use worse language than this. He is not shocked, merely confused. He can’t make sense of her comment or of anything he’s just witnessed.

When they are sure Arula, their mother, and their sister have gone to one bathroom or another, the brothers slip out of the gift-wrapping room, angle south across the hallway, and take refuge in Harley’s room, which is next door to Crispin’s.

Although they discuss the scene in the sewing room, they can’t reach any conclusions about what it means. Maybe Mirabell is going to a party this evening. But the brothers haven’t been told of it.

Harley thinks it’s unfair that their sister should be going to a party but not the two of them. “Unless maybe it’s a surprise party for us.”

“When has anyone ever given us a party?” Crispin asks.

“Never.”

“They’re not gonna start now.”

“Let’s just ask Mom what’s going on.”

“No,” Crispin says. “We shouldn’t do that.”

“Why not?”

“I don’t know. We just shouldn’t, that’s all.”

“How else are we gonna find out?”

“We’ll wait and see.”

Harley pouted. “I don’t understand why we can’t ask.”

“For one thing, we were snooping.”

“We overheard, that’s all.”

“We were snooping, and you know it.”

“That doesn’t mean we’ll get in trouble.”

“We’ll get in trouble, sure enough,” Crispin said. “What we’ve got to do is—we’ve got to wait and see.”

In Theron Hall, the main dining room, where the adults have dinner, is on the ground floor. They dine at eight o’clock.

The children are served in a smaller, second-floor dining room at six o’clock.

Clarette says that children eating with children, adults with adults, is a custom in that part of Europe from which the Gregorios hail.

This could be true. Crispin has known his mother to lie, but he doesn’t know enough about Europe to doubt her on this point.

Anyway, he’d rather eat with Harley and Mirabell than with his mother and stepfather. Here on the second floor, they can talk about anything they want over dinner. And they don’t have to choke down the fancy rich-people food that’s served downstairs, like poached salmon and snails and spinach soufflé. Here, they’re served the best stuff, kid food like cheeseburgers, mac and cheese, and tacos.

Their dining room is smaller than the one for the adults, but it’s no less formally furnished. The dark wood sideboards are heavily carved, and the carving has gilded highlights. The table stands on ball-and-claw feet, the chairs have high ornate backs, the cushions are upholstered in tapestries, and a crystal chandelier hangs over them.

Sometimes it seems as if no one in the Gregorio family was ever a child.

The servants who bring dinner also inform the boys that their sister will not be joining them this evening. They have heard that she is not feeling well.

Between the tortilla soup and the chicken nachos, Nanny Sayo stops by to report that Mirabell has what seems to be a migraine. Once the headache passes, the girl will eat in her room.

Clarette sometimes complains of migraines, squirrels herself away in a dark quiet room, and is unapproachable for the duration. This is the first time that her daughter has suffered such a thing.

“The condition can be inherited,” Nanny Sayo says. Before she leaves, she tousles Harley’s hair and kisses the top of Crispin’s head. “Don’t worry. Mirabell will be fine. But you must not bother her tonight.”

When the brothers are alone again, Harley says, “There’s a party, all right. This sucks.”

“There’s no party,” Crispin disagrees.

“If it’s not a party, then what is it?”

“We’ll just have to wait and see.”

For the next couple of hours, nothing unusual happens.

Being only seven years old and having spent hours stalking the farthest reaches of Theron Hall for the white cats that refused to materialize, Harley is ready for bed at eight o’clock. He says that he doesn’t care about any stupid old party, but he cares enough to want to pout in bed and retreat into sleep.

Crispin is not sleepy, but he puts on his pajamas and slips under the covers before nine o’clock.

He’s lying in deep shadows, the dimmer on his bedside lamp dialed down to the palest glow, when he hears the door open and someone approach his bed. The lightness of the visitor’s step and the swish of her skirt identify her as Nanny Sayo.

She stands there for long minutes while Crispin pretends to sleep. He has the crazy expectation that she will get into bed with him, but she does not.

After she leaves, he lies watching the digital clock blink away thirty minutes.

Some things we know that we shouldn’t do, some things we know that we must do, and sometimes the shouldn’t and the must are the same thing.

He gets out of bed and scopes the hallway, where the crystal fixtures in the ceiling cast light in soft prismatic patterns.

Crossing the threshold, he quietly closes the door behind him. He hurries north along the hallway, past the sewing room.

Mirabell’s bedroom is on the west side of the hall, adjacent to Clarette and Giles’s suite. Crispin listens at the door, but he hears nothing.

After a hesitation, he raps softly, waits, and raps again. When Mirabell does not reply, Crispin tries the door, finds it unlocked, and warily enters her room.

The bedside lamps burn at the lowest setting, but they are just bright enough for him to see that Mirabell is not here and that he is alone.

If his sister endured her migraine in bed, the bed has since been made. The quilted spread is smooth, taut.

From under the door to her bathroom, a yellow light beckons like the light in dreams that promises some revelation a moment before the sleeper wakes in darkness.

No sounds come from within.

Crispin whispers his sister’s name, waits, whispers it somewhat louder, but receives no response.

Easing the bathroom door inward, he enters a wilderness of white candles in clear glass containers. They line the deep windowsill, are clustered here and there on the marble bathtub surround, stand on the floor in every corner in groups of three, and flicker on the sink and vanity counters, where opposing mirrors clone and reclone them into a receding forest of burning tapers.

The quivering flames, sensitive to the slightest movement of the air, produce faint, trembling shadows that wriggle up the walls like ghost lizards.

She must have been bathed here hours earlier. The tub is dry. The wet towels have been removed.

Stuck to the white bathtub, however, are six scarlet rose petals.

On the floor beside the tub gleam two silver bowls with beaded rims. He picks up one and sees words in a foreign language engraved all around the exterior.

In the bottom of the bowl shimmers no more than a tablespoon of clear liquid, which he supposes is aqua pura. He dips a finger, raises it to his lips, and licks away the single drop.

The liquid has no taste, although the instant that it wets his tongue, he hears his sister’s whispered yet urgent plea, “Crispin, help me!”

Startled, he lets the bowl slip from his fingers. He catches it before it can ring off the marble floor.

He turns, but Mirabell is neither in the bath nor in the room beyond. If she spoke the words, she did so at a distance, and he heard them not with his ears but with his heart.

After carefully setting the silver bowl on the floor, he returns to his sister’s bedroom, where for the first time he notices that her teddy bears and other plush toys are gone. Mirabell must have had two dozen of them on the bed, the armchair, and the window seat. Not one remains.

The shelves that once held her collection of picture books are empty.

On her nightstand, where her Mickey Mouse clock once glowed with green numbers, there is nothing to tell the time.

On a hunch, Crispin yanks open the door to her walk-in closet and switches on the light. Nothing hangs on the rods, and the shoe shelves do not contain a single pair.

7

Early December, three years and four months later …

Since the close call on the recent Halloween night, Crispin and faithful Harley have been less bold, traveling more by greenbelts, alleyways, and storm drains than by the main streets.

Entirely separate from the sewer system, the massive drains are not dangerous in dry weather. They are secret highways, shadowing the avenues and byways above them.

Occasionally he encounters a rat or a pack of them, but they always run from him. City employees can reliably be spotted far in advance because of their work lights, and can be avoided by taking a branch different from the pipe in which they’re doing maintenance.

Initially, the boy and his dog were limited to entering and exiting the storm-drain system by way of open culverts that sloped up from ditches and streambeds to join that subterranean network. Manholes and the perfectly vertical iron-rung ladders that serve them offer a great many more entrances and exits, including a number of discreet options in quiet alleyways and abandoned factory yards, but four-legged Harley can’t use them.

For the past year, however, having grown rapidly stronger in his exile, Crispin has been able to lower the fifty-pound dog through a manhole or carry him up a ladder with the help of a device that he has crafted.

First, there is a sling made of fabric-backed vinyl, customized to the dog’s body, with holes for his four legs to be sure that his weight is evenly distributed and that undue pressure is not put on any of his internal organs. Crispin cut the vinyl and hand-sewed the sling himself. He is confident that neither will the seams split nor the snaps fail under stress.

When lowering the dog, he employs two lengths of a multistrand nylon rope favored by mountain climbers. He uses carabiners to attach the ropes to a pair of rings on the sling.

When climbing out of a drain, he wears a harness that he has also fashioned himself. With dog loaded, the sling attaches to the harness, and on his back Crispin carries his best friend up the ladder.

Before performing that feat, however, he ascends alone to open the manhole. From a city maintenance crew, he has stolen a tool with which he can hook and lift aside the big iron disk. From below, the reverse end of the tool allows him to tilt the cover up and, using leverage, swing it out of the way.

After poking his head out into the cold night to be sure there are no witnesses, he pushes his backpack through the opening before descending again to get in harness and carry the dog.

In such manner, they now emerge into a dead-end alley a block from Broderick’s, the largest and oldest department store in the city. Over the past year, they have taken shelter from time to time in Broderick’s, which is an especially welcoming place in winter.

This night, the moon is lost behind a lowering sky. The icy air cuts at him so that tears bleed from his eyes.

After freeing the dog, Crispin folds the harness and the sling. He stashes them in a compartment of his backpack, which is larger than the one he carried when he first fled Theron Hall to live wild in the city.

With the pack on his back, with the dog on a leash, he sets out for the wide service alley behind the department store.

His breath plumes from him as if he’s exhaling ghosts. Snow is predicted before morning.

On this first Saturday in December, an hour before closing time, no deliveries are being made to or from the shipping-and-receiving center that occupies the uppermost garage level beneath the huge building.

At the bottom of the two-lane ramp, the automatic bay door is down, and the man-size door beside it is latched. Latched but not deadbolted.

Crispin carries with him an expired credit card that he found years earlier in a trash can. He slips it in the gap between door and jamb, puts pressure on the beveled latch bolt, and forces it out of the striker plate. The door opens inward.

If a guard in the security room happens to be looking at a monitor that provides a view from the camera above the large bay doors, Crispin will find himself in trouble or at least chased out.

But that never happens. A year previously, the Phantom of Broderick’s explained to him that during shopping hours, security guards charged with monitoring the store’s numerous cameras will be focused 99 percent of the time on store interiors, looking for shoplifters.

Once through the door, Crispin relies on the wise dog to guide him.

With the last of the day’s outgoing shipments completed by 5:00 P.M. and the final store-stock deliveries made by 6:00, the employees in shipping-and-receiving have all gone home, with the exception of the department’s assistant manager—Denny Plummer—who works from noon until closing time at 9:00.

If a dozen employees were busy in this area, Crispin would have little hope of slipping secretly into Broderick’s to stay the night. But with only Denny Plummer to avoid, he can rely on the dog’s keen sense of smell to locate the assistant manager and evade him.

A third of the huge garage contains a fleet of Broderick’s delivery vans in various sizes. In another third, crates of new merchandise stacked on pallets wait to be opened. The final third is unused.

In better economic times, the fleet of trucks numbered twice what it does now, the new merchandise was piled higher, and every inch of this space was needed. In those golden days, a night shift of stock boys replenished the store’s racks and shelves. In the current doldrums, no night shift is necessary. All restocking occurs during store hours. After closing time, one person remains in Broderick’s: the Phantom.

Harley leads Crispin on a serpentine route among the trucks and crates, to the service stairs, which lead up to a distribution room from which new merchandise is wheeled on carts to far points of the department store. A freight elevator is also available, but for the boy, the stairs are safer.

At this hour, the distribution room on the ground floor is deserted. With the shipping-and-receiving crew gone for the day, this space is dark except for a single light above the wide door that leads to the ground floor of the store.

Among the many carts and unopened cartons are numerous places where a boy and his dog can hunker down and hide. They shelter here until 9:32, when every speaker in the public-address system echoes with the machine voice of the security package, sternly announcing, “Perimeter control armed.”

This means that the last employee, a guard, has left by the door through which Crispin earlier entered from the alleyway. He has set the alarm for the night. Every exterior door and window is wired, and if any is breached, the police will be summoned.

In better days, Broderick’s maintained a four-man team of guards during the night. They were pink-slipped years previously. Without night watchmen, the store management for a while considered updating their security with motion detectors, but in the end that was another expense they could not justify in this new downsized America.

Until the store reopens on Monday morning, Crispin and Harley can go anywhere in its four sales floors without triggering an alarm. When Broderick’s is closed, the only security cameras that continue to record are those covering doors and operable windows, so no one will know that they were here.

In spite of high electricity costs, aisle lights are left on all night on the ground floor. The police stop by a few times each shift to peer through the display windows, to be certain that the alarm hasn’t been thwarted and that no bad guys are running amok inside.

Crispin unsnaps the leash from Harley’s collar, and they leave the distribution room. They take the public elevator to the fourth floor.

Up here are three departments—kitchenware, home furnishings, and bedding—plus Eleanor’s, which is a restaurant named after the wife of the store’s founder. Eleanor’s is more than a coffee shop, less than a fine-dining establishment. Open six days a week, it is popular with the ladies’-luncheon crowd and with those who enjoy tea and pastries in the late afternoon. Dinner is not served—at least not with the knowledge of management.

The restaurant is to the left of the public elevators. The pair of beveled-glass French doors, which should be closed and locked, stand open.

Past the hostess station, the dining room is dimly lit by the ambient glow of the great city, which enters by tall, west-facing windows. Beyond the tables, in one of the booths, a few candles in red-glass vessels flicker pleasantly.

Crispin is expected. With his disposable cell phone, he has called ahead to ask if he might be welcome for two nights. The phone comes with a limited number of minutes, but that is of no concern to him; the only number he ever calls is hers.

This side of the hostess station, in the open doorway, stands the Phantom of Broderick’s.

8

July 26, memorial day for Saints Anne and Joachim, memorial night, three years and four months earlier …

Nine-year-old Crispin in his sister’s empty closet is pierced by a sharp fear, not fear for himself—not yet—but for Mirabell.

Crispin, help me!

He doesn’t hear the voice again, but he remembers it clearly.

Something is terribly wrong, and it can’t be put right by one of Mr. Mordred’s jokes or by a kiss from Nanny Sayo.

At the thought of Nanny, the intense flavor of lemon candy fills his mouth. An impossible flood of saliva forces him to swallow once, twice, three times, and still a string of spittle escapes, drools down his chin. He wipes it away with a sleeve of his pajamas.

They have lived in Theron Hall for six weeks, and suddenly those days seem to have passed mostly in a haze. Looking back, he has only a vague sense of what happened on which day, as if time has no fixed meaning in this house.

They have gone to bed and risen according to their desires. They have eaten only what they wish. Every toy they’ve wanted—and many they never requested—have been provided for them. They have been entertained rather than schooled, and their tutor with the horsefly birthmark has indulged them at every turn, always excusing and even encouraging their laziness. They have never left the house. In their three separate rooms, they are gradually being isolated, one from the other, as they already have been isolated from the outside world.

None of that is how things ought to be. Crispin sees now that the past six weeks have been like a dream through which they have been drawn as though responding to invisible strings attached to all their limbs.

Crispin, help me!

The sense of being in a dream only intensifies as Crispin finds himself at the door to Clarette and Giles’s bedroom suite without realizing that he has left Mirabell’s room.

His mother and his new father have made it clear that they value their privacy and that their quarters are strictly off-limits. Until now, Crispin has never tried their door. He assumes that it must be locked, but it is not.

Stained-glass and blown-glass lamps pour out honeyed light so rich that he can almost taste it, and the velvet shadows remind him of a place he cannot name or quite remember, a place that somehow came before everything he’s ever known.

Of all the grand spaces in Theron Hall, this is the grandest of them all. The dazzling and intricate pattern in the colorful Persian carpet seems to pull gently at his bare feet with every step that he takes, as though it might draw him down into it, into not just the threads that constitute it, but into it and also through it, as if it might be a secret gate to another world more real than this one. The draperies are so soft and hang in such elegant folds, the colors are so appealing, the fringe and tassels are so plush, that no vista he might see through the windows behind them could compete. Here is the furniture of some greater royalty than mere kings, and an ornate mirror of such compelling depth that when Crispin stares past his reflection, the room appears too vast to be contained within Theron Hall, dwindling to infinity.

He is overwhelmed by opulence, on the verge of vertigo, when once more he focuses on the velvet shadows in the corners, which remind him of some place he can’t remember, a place that came before everything he’s ever known. But this time some alien voice inside his head, with words he’s never heard before yet understands, reveals to him that the perfection of these shadows are the darkness of his mother’s womb, from which he was born. If he wishes to step into a corner and allow these shadows to fold around him, if he will wait here for his mother, upon her return she will take him back into herself, and he will know again the peace of being part of her and eventually of being uncreated.

His fear for Mirabell erupts into terror, and the fear that he previously did not feel for himself at last squeezes his heart.

He flees from his parents’ bedroom suite with no sense of how he might find and help his sister. He sprints along the hallway to the north stairs and spirals down.

By the time he reaches the ground floor, the thought driving him is that someone in the house will want to help him, that they are not all in league against him and his siblings. If not the chief butler, Minos, perhaps the junior butler, Ned. If neither of them, then maybe one of the housekeepers. Not Proserpina! Perhaps the head housekeeper, Mrs. Frigg. Someone will want to help him, one of those who always has a smile for him, who treats him with respect.

Not until weeks later does it occur to Crispin that in his mad search for a confidant and defender, he never thinks to leave the house and seek help from someone in the street, perhaps even from a policeman. He seems almost to be under a spell that prevents him from considering the world beyond Theron Hall.

Gasping for breath, frantic, he can find no one on the ground floor, not in any of the public rooms, not in the kitchen. No one seems to be at work, yet the rooms in the servants’ wing are all deserted, the doors standing open as if everyone on the staff left together in response to some urgent call or alarm.

Intuition pulls him to the south stairs and down the winding treads to the basement, clutching at the decorative bronze railing for support. The door at the bottom of the stairs won’t open.

In the vast basement is a room with a steel door that’s always locked. He has previously been told that it is a fireproof vault in which are stored irreplaceable heirlooms of great value.

But never before has the main door to the rest of the basement been locked. He tries the lever handle again, with no success.

Beyond the door, from a distance, muffled voices rise and fall in time with one another. Chanting. Crispin isn’t able to make out the words, but the rhythm is ominous.

Although the voices are those of adults, as he presses his body against the door in an attempt to force it open, Crispin whispers, “Mirabell?”

Another door lies at the bottom of the north stairs, a second entrance to the basement. Perhaps that will not be locked. And the elevator serves all floors.

When Crispin turns to climb the stairs, the cook, Merripen, is immediately behind him. Merripen wears a long black silk bathrobe and holds a stainless-steel thermos bottle, the top of which he has unscrewed.

9

The third of December, three years and four months later …

In the largely dark fourth-floor restaurant at the top of the department store, Crispin and the girl sit in a booth, facing each other by candlelight.

Before his arrival, she made chicken-breast sandwiches with provolone cheese, aioli, and watercress. With the sandwiches, she serves potato chips and little pickles that she calls cornichons.

She is sixteen but appears to be at least eighteen. She works at looking older.

During the past few years, Crispin has spoken to so few people that he wouldn’t be surprised if he lost the will or even the ability to speak to anyone. But he is comfortable with this girl.

“Hey, boy,” she says.

“Hey.”

“You been okay?”

“I get along.”

“They looking for you?”

“Always will be.”

“Your dog’s still sweet.”

Harley was lying under the table, on her feet.

“He smells good, too,” she says.

“We get pretty regular baths, one way or another.”

“He find you any money lately?”

“He led me to this parking garage one night.”

“Old Harley looking for some wheels?”

“He wanted to bed down there. I found out why.”

“Is there usually money in parking garages?”

“There was this time. Three in the morning, some guys meet to trade something.”

“We can figure out what.”

“They don’t know me and Harley are there.”

“Which is why you’re still here.”

“They get into an argument.”

“Bullets fly.”

“A few. Must be a cop in the area. Suddenly there’s a siren.”

“So they split?”

“They split so fast they’re peeling rubber. And they don’t stop to pick up all they spilled when the shooting started.”

“Some of which was money,” she guesses.

“Enough was.”

She sighs. “It’s always nice and quiet here in Broderick’s.”

Her birth name is Daisy Jean Sims. Now she is known to the world as Amity Onawa.

Two years before, her hair was long and blond, eyes sapphire-blue. Her eyes are still blue, but her hair is short and black.

In a more ordinary time, she had a father, a mother, and a younger brother named Michael. One night they were all murdered in their beds.…

On the night, the baby-faced murderer spares only her. Without her knowledge, he has for some time been watching her from afar.

Vestmented with her family’s blood, he switches on her bedside lamp and wakes her with the eerily tender request that she put on a dress that he has purchased just for her. A modest dress with a Peter Pan collar and a midcalf skirt. Also a pair of white ankle socks, saddle shoes, and a lace mantilla.

She understands, without being told, that he wants her to wear these things so that he can tear them off her.

Shaking as much with grief as with terror, she does as he asks, which includes changing in her small walk-in closet to ensure that the thrill of anticipation will not be diminished for him by seeing her naked before the moment that he violently disrobes her.

Because she is a handy girl who mends her own clothes, she keeps sewing supplies in a closet drawer. When she presents herself attired as he desires, she surprises him with a pair of scissors.

The wound she inflicts is far from fatal, but he staggers and falls, giving her a chance to run. Dressed as if for church followed by a sock hop, she escapes, aware that he’s getting to his feet and cursing.

If not for what happens when she’s holding the scissors with the blades sunk in the killer, she would scream into the night and seek help from neighbors. But in that instant when she and the psychopath are linked by blood and steel, she has a flash vision of herself perhaps a year older, in a house that belongs to her aunt and uncle, both of them on the floor, their faces disarranged by bullets. She sees herself, too, on her knees in that carnage, begging for her life as this same lunatic presents her with a fresh costume that he wants her to wear.

Mind, heart, and soul, she knows that this premonition is true, that the police will not catch him, that continuing to be Daisy Jean Sims will be the death of her and the death of still more people whom she loves.

Racing down the front-porch steps, the mantilla flying off her head, she does the last thing the killer will expect: runs not away from the house but instead around it. Occasionally her father sits on the back porch to have a beer before bed. He isn’t much of a drinking man, and if he has two, he sometimes forgets to lock the door when he retires for the night. Sure enough, it’s unlocked, ajar, suggesting that the killer entered the house this way.

She crosses the kitchen and warily peers into the downstairs hall. At the farther end of the house, the psychopath leaves by the front door.

Now she proves that her mettle is second to none. Shuddering with terror, wrenched by grief, she makes her way to her parents’ bedroom, where in the company of the beloved dead, she locates her father’s wallet and her mother’s purse, taking what money they contain. Like many people in these uncertain times, her parents have purchased some gold coins, which are kept under the false bottom of a desk drawer in the den. She takes those eight Canadian Maple Leafs as well, and then returns to her bedroom.

Either she is half insane and reckless with anguish, therefore not thinking clearly, or she is thinking more clearly than she has ever thought before. She won’t know which is true for a long time to come.

She puts the coins and most of the money in a small suitcase and quickly packs jeans, sweaters. Because her all-white and dated outfit might call attention to her, she shrugs into a raincoat. Carrying the suitcase with her left hand, she has the fortitude to stoop and pick up the bloody scissors with her right, holding them ready in the event that the killer has been unwise enough to linger.

She leaves by the back door, crosses the deep rear yard, hurries alongside the garage and through a gate into an alleyway.

The moon that night is a crescent and appears to be as sharp as the Italian kitchen knife that her mother calls a mezzaluna.

Thirty minutes later, in a deserted bus-station bathroom, Daisy Jean Sims chops her long hair short. She changes into blue jeans, a sweater, a pair of running shoes.

She purchases hair dye and a few other items at an all-night supermarket. Before dawn, alone in a public restroom in Statler Park, she transforms blond to raven.

The slaughter at the Sims house is not discovered until two-fifteen that afternoon. Judging by his bloody handprints and a single shoe print, police believe the killer is a tall man with unusually large hands, physically formidable. Because his prints are found, as well, in Daisy’s room, and because the girl is missing, the assumption is made that she has been kidnapped.

Trusting that her shaggy black hair will, for the moment, serve as an adequate disguise, she visits the main city library both with the hope that its quiet will settle her nerves and with the intention to do some research.

First she reads about predictive clairvoyance, but those who have written on the subject generally treat it as mere fantasy or as a possibility that has validity only because it might be predicted by some more liberal interpretations of Jungian psychological theory, whatever the hell that might be. There’s a third group that writes with gosh-wow enthusiasm that seems to be a cheesy attempt to sell books to the gullible.

She knows that what she foresaw when she plunged the scissors into the killer was neither a fantasy nor a Jungian whatever. It was the most intense and truest experience of her life. If she lives as Daisy Jean Sims, she will be found, she will be killed, and people she loves will die with her.

After putting aside the books on clairvoyance, she researches names, the history and the meaning of them. Without being able to explain to herself why, she believes that she must choose her new name with care, that the right name will make her safe, that the wrong name will leave her vulnerable.

By the time the library closes, she decides to rename herself Amity Onawa. Amity, from the Latin amicitia, means “friendship.” Onawa, a North American Indian word, means “wide awake girl.”

In her new and terrible loneliness, the name Amity—friendship—speaks to what she hopes to give and receive. And after the hideous experiences of the night just passed, she seems to have come out of a lifelong half sleep; she is now as wide awake as any girl has ever been, wide awake to the fact that the world is more dangerous and far stranger than she had previously realized.

She is one month past her fourteenth birthday.

She has not yet wept for her parents or her brother. Those tears will not come for another three weeks, and then they will be a flood.

Now, more than two years later …

Amity, who also calls herself the Phantom of the Broderick, sits in a restaurant booth with Crispin, eating a tasty chicken sandwich and drinking a Coke. She is sixteen. He is twelve and counting down. At their age, four years is a chasm, but it’s bridged by their shared awareness that the world is a more mysterious place than most people wish to acknowledge.

Amity asks, “You still sometimes hear a voice saying you can undo what was done, save them both?”

“Sometimes. Been hearing it since I was nine. Almost thirteen now. Still don’t know what it means.”

“Birthday boy,” she says. “Tomorrow, right?”

“Yeah.”

“The big thirteen,” she says.

“Glad to be here.”

Under the table, Harley chuffs.

“Lucky thirteen,” she says.

Crispin nods. “It better be.”

10

July 27, three years and four months earlier …

Crispin wakes at 11:31, blinking at the digital clock, not sure if it’s nearly midnight or noon. Daylight behind the draperies solves that puzzle.

He doesn’t remember going to bed. In fact, he doesn’t remember much of anything after the previous evening’s dinner of tortilla soup and chicken nachos.

As he sits up against the headboard, trying to clear his mind, someone knocks on the door.

He says, “Come in,” and the maid named Arula enters pushing a breakfast cart, as if she intuited that he would sleep later than ever before and would wake precisely at this time.

The kitchen has sent up enough of Crispin’s favorites for three breakfasts. A silver pot of hot chocolate, from the spout of which rises a fragrant steam. A buttered English muffin. A chocolate-chip muffin and an almond croissant. A generous bowl of fresh strawberries with brown sugar and a little pitcher of cream. A fat sticky bun crusted in pecans. In the warming drawer of the cart, if he should want them, are banana pancakes with maple syrup on the side.

In her own way, Arula is as pretty as the other housemaids—it’s amazing how pretty they all are—and always friendly. As she opens the draperies to let in the morning light, she tells him that the day is warm, the bluebirds this year are bluer than they have ever been, and Mr. Mordred will be convening class today only from one o’clock until four, in the library.

Surveying the offerings on the breakfast cart, Crispin feels slow-witted, fuzzy-minded. Although he has never been a moody boy, he is for some reason out of sorts. He complains that he can’t eat so much. “You’ll have to give part of it to Harley or someone.”

Returning to the bed, Arula says, “Pish-posh, dear boy. These are your favorite things, and your brother has his own. Eat what you want, and we’ll throw away the rest. You’re a good boy, you deserve to have choices.”

“It seems such a waste.”

“Nothing is wasted,” she assures him, “if even the sight of it gives you pleasure.”

This is a different cart than usual. There is no bed tray. The top of the cart itself swivels over the bed, conveniently presenting all these delicious items within easy reach.

After adjusting her uniform blouse, Arula sits on the edge of the bed, grabs one of his feet, which is under the blankets, and gives it an affectionate squeeze. “You’re a fine and thoughtful boy, worrying about wasting things.”

Although his memories of the past evening remain shapes in a fog, Crispin remembers something from the previous afternoon. “Why did you bathe Mirabell in milk and rose petals?”

Only after he asks the question does he remember that he knows of this event because he and Harley were eavesdropping.

Arula neither frowns nor pauses in surprise, but answers as if no one keeps secrets in Theron Hall. “In the very, very best European families, there are traditional beauty regimens that girls as young as six are expected to follow.”

“We’re not European,” Crispin mutters.

“You’re Crispin Gregorio now, and you certainly are European, at least by marriage. Remember, the family lives only occasionally in Theron Hall and has houses all over the world. Your mother wants to be sure you assimilate well and know how to live in any country in which you find yourself.”

“I don’t want to take a bath in milk and roses.”

Arula laughs sweetly and squeezes his foot again. “And you won’t. That’s just for girls, you silly thing.”

Nibbling grudgingly on a croissant, Crispin says, “I’ll bet girls don’t like it, either.”

“Mirabell loved it. Girls like to be pampered.”

“I’m going to ask her, and I’ll bet she didn’t like it.”

“By all means, ask her the first time she calls from France.”

Confused, Crispin says, “What do you mean—France?”

“Well, if you weren’t such a terrible sleepyhead, you’d know. We’ll all be going to France in October. This morning, Minos and Mrs. Frigg flew to Paris to prepare the house there, and Mirabell went with them.”

The filling of almond paste in the croissant, which has been sweet, suddenly seems bitter. He puts down the pastry.

“Why would Mirabell go to France before the rest of us?”

“There’s no bedroom in the Paris house suitable for a little girl,” Arula explains. “Mr. Gregorio wants his daughter to be as happy as possible. He’s authorized the expenditure of whatever is necessary to give her the most wonderful bedroom suite that she can imagine. She needs to be there to make choices.”

“That doesn’t sound right,” Crispin says.

“What doesn’t?”

He frowns. “I don’t know.”

Her hand moves up his leg, and she squeezes his knee through the blanket. “Oh, it’s right as rain. Mr. Gregorio is a generous man.”

“What about me and Harley? Where are we gonna sleep when we get there?”

“The Paris house already has bedrooms suitable for boys. You’ll be quite happy with yours.”

He has been sitting up to the breakfast selection. He slumps back against the mound of pillows. “I don’t want to go to Paris.”

“Nonsense. It’s one of the greatest cities in the world. You want to see the Eiffel Tower, don’t you?”

“No.”

“I swear,” Arula declares, letting go of his knee and rising from the bed, “you must have taken a grumpy pill this morning. Dear boy, France is going to be a grand adventure. You’ll love every minute of it.”

“I don’t speak French.”

“You don’t have to. All over the world, everyone who works for Mr. Gregorio speaks perfect English as well as other languages. When you leave the house in Paris, there will always be a companion with you to translate. Now eat something for breakfast, child. I’ll be back to collect everything later.”

When he’s alone, Crispin pushes the cart aside, flings back the covers, and gets out of bed. He restlessly walks the room, stopping repeatedly at the windows to gaze out at the city.

Having remembered spying on his mother, Mirabell, and Proserpina in the sewing room, the boy knows there is something else that he has forgotten. It eludes him.

Finally, he recalls Nanny Sayo visiting him and his brother briefly during dinner to report that their sister had a migraine and would eat in her room after the headache passed.

Don’t worry. Mirabell will be fine. But you must not bother her tonight.

He remembers going to bed before nine o’clock. He wasn’t sleepy. When Nanny checked on him, he pretended to be deep in dreams. After she left, he had watched the bedside clock count down to nine-thirty.

He remembers nothing after that. Nothing. So he must not have been as awake as he thought. He must have gone to sleep, after all.

In the bathroom, he turns the water in the shower as hot as he can stand it. He steps into the large cubicle, closes the door behind him, and inhales deeply of the billowing steam.

The soap produces a rich lather. He always uses a washcloth to soap himself, but suddenly he realizes that he is using his hands instead. For reasons he can’t quite put into words, he is embarrassed to be touching himself in this fashion, and he resorts to the washcloth, as usual.

The shampoo makes an even richer lather than does the soap, and as he washes his hair, he closes his eyes because sometimes the suds sting them. As always, the shampoo smells vaguely of carnations, but after a moment the scent changes to that of lemons.

This fragrance is so extraordinarily intense and so unexpected that reflexively Crispin opens his eyes, and as he does he thinks he hears someone speak his name.

The water drumming-splashing on the marble floor, the constant slish-slish-slish of it echoing back and forth off the three glass walls, creates such a screen of noise that he wouldn’t hear someone speak unless the speaker shouted or was in the shower with him. This voice is not a shout, but a murmur.

The sting of shampoo blurs his vision, and the whirling steam further hampers him, but as he turns in place, squinting at the bathroom beyond the glass walls of the shower, he glimpses a hazy figure, someone watching him. Shocked by this intrusion on his privacy, he wipes at his eyes with both hands, sluicing the suds from his lashes. When his vision clears, no one is watching him, after all. He is alone in the bathroom, and the visitor must have been a figment of his imagination, a trick of light and steam.

Dried off, dressed, he is suddenly famished. He eats the fresh strawberries and cream, the English muffin, the croissant, and the sticky bun with pecans. He drinks most of the hot chocolate, taking his time, savoring every sip.

He’s fifteen minutes late for lessons in the library, but Mr. Mordred never expects punctuality.

Harley has news. “Mirabell called from Paris!”

Crispin shakes his head dismissively. “She can’t be in Paris already.”

“Well, she is,” Harley insists.

“They left very early,” Mr. Mordred says, “but in fact they aren’t there yet. Mirabell called from Mr. Gregorio’s private jet, somewhere above the Atlantic.”

“She’s on a jet!” Harley says, thrilled by the idea. “She says it’s super-great.”

“Are you sure it was Mirabell?” Crispin asks his brother.

“Of course it was.”

“How do you know—just because she said so?”

“It was her. I know Mirabell.”

Harley is seven and gullible. Crispin is nine and feels that he is not just two years more mature than his little brother, but three or four, or ten. “Why didn’t she call me?”

“ ’Cause she wanted to talk to me,” Harley says with pride.

“She’d want to talk to me, too.”

“But you were snoring your head off or stuffing your face or something,” Harley says.

“I’m sure she’ll want to talk to you the next time she calls,” Mr. Mordred assures Crispin. “Now what should we do to start? Should I read you a story or teach you some arithmetic?”

Harley doesn’t hesitate to consider. “Read! Read us a story!”

As Mr. Mordred chooses from several books, Crispin stares at the horsefly birthmark on his left temple. He thought he saw it move just a little. But it isn’t moving now.

11

Over dinner, December 3, the eve of Crispin’s thirteenth birthday …

Amity Onawa, formerly Daisy Jean Sims, also the Phantom of Broderick’s, has put a plate of little tea cakes on the table for dessert. They are flavorful but not too rich.

The dog begs, receives half a cake, and lies down to sleep.

With her black hair, compelling blue eyes, and knowing attitude, the girl looks like a Gypsy about to read someone’s fortune by the glimmering candlelight.

“So, Crispin Gregorio.”

“That’s not my name.”

“Crispin Hazlett.”

“That’s the name my mother used.”

“And you never did?”

“I did but not now.”

“Why not?”

“I never knew any man named Hazlett.”

“So it’s what—just Crispin?”

“That’s right.”

“Travel light, huh?”

“One name’s enough.”

“So, Crispin, what do you want for your birthday dinner tomorrow night?”

“Whatever. I don’t care.”

“Got a walk-in refrigerator full of stuff. And for Christmas, they have an entire special department of delicacies down on the second floor.”

“Anything. It doesn’t matter.”

“Everything matters,” she disagrees.

He shrugs.

Cocking her head, Amity asks, “Still got your deck of cards?”

“Same deck,” he confirms. “Bought the night me and Harley met.”

“You still do with it what you used to do?”

“That’s all it’s for.”

“Did you turn up the four sixes yet, one after the other?”

“Not yet.”

She shakes her head. “You’re a strange one, boy.”

Smiling, he says, “Not just me.”

With the small bankroll and the eight gold coins that she had when she fled from that house of murder, Amity lived many months on the streets. She dressed tough, acted tough, and over time she became tough.…

In that year, she learns many things, one of which is how to fabricate a life. Any kind of dope is available, and fake but high-quality ID is no more difficult to score than pot or coke. She has no interest in drugs, but she is determined to make Amity Onawa as real as Daisy Jean Sims once was.

In time the police conclude that the missing Daisy must be dead, and she is dead to Amity, as well. Dwelling on memories of her former life is too painful to endure—and dangerous. Her psychic moment with the scissors sometimes recurs in dreams, and she remains convinced that any contact with relatives or even old friends will be the death of her and them.

After six months of sleeping in a bedroll—in parks, in church basements, under bridges—she uses a bogus but convincing driver’s license and Social Security card to rent a tiny studio apartment with a half-kitchen and a minuscule bath. She needs to shower every day and to wear fresh clothes if she is to find a job and keep it.

In the current topsy-turvy world, jobs are scarce; and if you know how to game the system, the dole pays better than work. Most street types she’s met are grifters, and their favorite mark is one program or another of the Department of Health and Human Services, from which they finesse more than a single income stream.

Amity, however, is a wide-awake girl. She knows that dependency is another word for slavery. Besides, in the long run, counting on Uncle Sam to see you through is like expecting to find sure footing across a sea of quicksand.

On her first job, she spends three hours a day cleaning and chopping vegetables in a joint serving pretty good Mediterranean food, followed by three hours of busing lunch-hour tables. Soon she is promoted. She makes and plates salads and performs a host of other culinary chores.

When she applies for an opening at Eleanor’s in Broderick’s Department Store, she is hired at once. She is only fifteen, but her ID says that she’s six months short of her eighteenth birthday. After her time on the streets, she has an air of been-there, and she can look anyone in the eye longer than they can meet her stare.

In time she comes to see that Broderick’s potentially offers more than a job. It can be also a home, and more than a home, a haven.

Each employee has a personal locker with a combination dial in either the men’s or women’s change room on the ground floor. Here she keeps her purse and, in cold and inclement weather, her coat, scarf, gloves, rubber boots. Many keep their bag lunches in their lockers, but as a benefit of being on the staff of Eleanor’s, Amity receives her lunch free in the kitchen at the end of the noon rush.

Over several days, Amity brings a complete array of toiletries to stash in her locker. A hair dryer. A few T-shirts and sweaters. Two pairs of jeans. Socks, underwear. She keeps everything folded and out of sight in a couple of carryalls, so that when she opens her locker in front of others, it doesn’t look like a closet.

Each day, at the end of her shift, she appears to leave, but she in fact deceives. She knows scores of places in this immense building where she can hide until Broderick’s closes for the night and the last departing guard has set the perimeter alarm.

The first-arriving employees—stockroom guys, guards, cleaning crew, and some front-office types—clock in at 7:30 A.M. to prepare for a 10:00 opening. But for the ten previous hours, Amity has the department store to herself. Ten hours of blissful solitude and security. On Sundays and holidays, of course, this magnificent temple to disposable income is hers alone all day and night.

As the Phantom of Broderick’s, by night-lights on the ground floor and by flashlight on the upper three, she can shop for hours if she wishes, try on fancy dresses and other clothes that she will never wear in the world outside, and indulge whatever fantasies this vast realm of merchandise encourages.

In the general manager’s office on the fourth floor, there is a private bathroom in which she can shower. If she wipes it down with a squeegee afterward, the stall is dry only three hours later, and no one can know that she used it.

The restaurant kitchen is windowless, so she can turn the lights on there to cook her meals. She usually eats at the desk in the chef-manager’s office, while reading a book.

Reading is her favorite pastime, as it was for Daisy Jean Sims. In certain fiction, she perceives truths that she rarely finds in nonfiction; therefore, in her quest to better understand the world and the meaning of her life, she reads those novels that suggest a world of wonders, dark and light, forever unfolding for eyes willing to see.

If she gets hungry for fresh cashews or fine chocolates, the nuts-and-candy counter on the ground floor offers a smorgasbord.

She takes nothing but food from Broderick’s, and she pays for it by organizing tables of sweaters and pants and other clothing that the day’s shoppers have left disarranged, by better cleaning places that the store’s own maintenance crews have left less than spic-and-span, and by making sure that Eleanor’s, in particular, sparkles.

During the fourteen months that she has lived mostly here, she has kept her tiny studio apartment as a mail drop and a place to do laundry. Her days off are Sunday and Monday, but she leaves the store only on the second of those days. Monday nights, she sleeps in her apartment, and she yearns to be once more in Broderick’s.

She has chosen this way of living not to save money on rent, but in the hope of finding again the security that she knew before her family was slaughtered. Life on the streets has toughened her, but it has not restored the sense of stability and permanence that she once enjoyed.

Perhaps even Broderick’s can’t give her back that most precious aspect of her childhood. But alone within its walls, she feels safer than she feels elsewhere. Except on those occasions when Crispin pays a visit, her only company is who she meets in books, as well as, in various clothing departments, a community of mannequins, none of whom can rob her of her virginity or kill her. She enjoys over 380,000 square feet of living space, surely the largest home in the world, and the longer she lives here without incident, the more easily she can make herself believe that this place is not merely a home but also a fortress.

The first time Crispin sneaked into Broderick’s with his dog, before closing time, he might not have made it safely through the morning without setting off an alarm or being caught on his way out. Thanks to Amity Onawa, he now knows how to come and go with almost as much stealth as the spirit of a nine-times-dead cat.

And now here they are, friends for almost a year, and except for Harley, each of them is the other’s only confidant.…

Over the final little cakes, Amity says, “I saw your mother at tea with some women about two weeks ago.”

“What—here?”

“At that table,” she says, pointing.

“I thought you worked in the kitchen.”

“Sometimes now, if a waitress drops out of a shift at the last minute, I take her tables.”

“What did you think of her?”

“She’s even more beautiful than her pictures. And very sure of herself.”

“Don’t ever serve her again,” Crispin warns. “Serving one of them in any way … well, it gives them a hook in you, I think. They can pull you into further and darker service as if you’re a fish on a line.”

“I don’t believe I’d be that easy. Anyway, I doubt I’ll ever have another chance to serve her. Certainly not soon. I overheard her tell the other women that she and your stepfather were jetting off to his home in Rio the next day for an extended stay.”

“No mention of her children, I suppose.”

“She said you, Harley, and Mirabell were doing well in boarding schools in London.”

“Jolly good,” Crispin says sourly.

“Will you ever confront her?”

“She’d kill me on sight.”

“Or you her.”

“I might.”

“And now that Theron Hall is empty?”

“A few staff will still be there, three or four.”

“But mostly empty,” Amity persists.

Crispin favors silence.

She reminds him: “You told me once that something happened there that you need to better understand. Something you need to go back and see again.”

“Not yet.”

“When?”

“When the cards tell me it’s safe.”

“Have you consulted them recently?”

“No.”

“Are you afraid?”

“Everyone should be afraid.”

After a long silence, Amity says, “There’s a cool display in the toy department. You’ve got to see it.”

As Amity slides out of the booth, Crispin says, “You mean now?”

“I didn’t know you had a busy schedule tonight.”

He gets up to follow her, and she points to the wall of tall windows. “Look. Snow. So beautiful.”

With the dog between them, they cross the room and stand at the huge panes of glass.

The first flakes are as large as silver dollars and look as soft as little pillows. The heavens shed their bedding on a city seeking sleep, crystalline goosedown spiraling through darkness, through the million feeble night-lights of a civilization always one dawn away from obliteration.

12

Crispin is nine and under the influence of a malign spell following Mirabell’s flight to Paris.…

Only much later will he think of himself as spellbound, but whether that is the truth of his condition or not, he passes August and September that year in a curious state of detachment, with little energy for a boy his age.

He reads books that he enjoys, but days later he can barely remember the stories.

He plays board games and card games with Harley, but he doesn’t care—or recall—who wins.

He sleeps a lot, daydreams when he isn’t sleeping, and finds himself some nights and afternoons in Harley’s room, sitting bedside, watching his brother sleep.

Mr. Mordred still homeschools them, but he teaches with less diligence than ever and requires of them no homework. Sometimes Crispin feels as if the tutor does not intend to educate them, only to maintain a pretense of education, that there is nothing for which they will need an education.

For a while, Harley continues to search for the three white cats, but by mid-August, he loses interest in that quest.

Crispin sees little of his mother, less of his stepfather. Those infrequent encounters support the exceedingly bizarre perception he has that Theron Hall is much larger than its official square footage and that it is growing bigger all the time.

He sees much of Nanny Sayo, both waking and in dreams. In the waking world, she is always affectionate toward him and respects her role as a surrogate parent. In dreams, she is usually the same as in real life, though now and then a sudden wildness overcomes her and she springs on him, tearing at his clothes and nipping at his throat without breaking the skin, all in such a way that frightens Crispin but also strangely excites him.

Sometimes the dream nanny looks exactly like the real woman. But at other times she will have one different feature: this time, the yellow eyes of a lizard; the next time, reptilian teeth or scaly hands with beautiful pearly claws.

Mirabell telephones again from Paris, once in late August and once in mid-September. She speaks with her mother, with Harley, with Nanny Sayo, and even with Mr. Mordred. The first time that she calls, Crispin is sleeping late, and no one thinks to wake him. On the second occasion, he is in bed with the mysterious fever that never lasts more than a day but that comes upon him every few weeks.

When eventually he flees Theron Hall, he will marvel that so many clues to the truth of that place and its denizens were offered to him without triggering his suspicion, let alone his alarm. If he was spellcast, it must have been a spell disabling his ability to make even obvious connections, to reason from evidence, and to hold in memory proofs of the conspiracy in the web of which he was caught.

Two days after Mirabell disappears, Crispin comes out of the miniature room and sees the matriarch, Jardena, crossing from the elevator to the door of her suite. She seems to be unaware of him, but he is struck by two things about her.

First, although she still wears one of her long dark dresses, she moves quickly and gracefully. Gone is the hesitant shuffle of an arthritic old woman.

Second, if her face was a withered apple before, it looks now, in the glimpse of it that he has, like a fresher fruit, the face of a woman fifty years old instead of a hundred.

Weeks later, near the end of August, as Crispin is staring out a window, daydreaming, a limousine pulls up to the front door of the house. The chauffeur assists from the car a pretty woman of perhaps thirty-five, wearing a tailored dark suit that flatters her figure. She oversees the unloading of many shopping bags and parcels from the trunk of the vehicle.

The junior butler, Ned, appears and hurries down the front steps to help the overburdened driver. As the woman precedes them up the steps to the front door, Crispin is struck by her resemblance to the young Jardena, of whom framed photographs can be seen on the piano in the music room and elsewhere in the house.

If some grandchild or grandniece of Jardena’s has come to visit, Crispin is not told about her. And he never sees her again until a night in late September.

That he does not reach a disturbing conclusion about those two encounters is perhaps understandable. Less explicable, however, is how he could chance upon his mother kissing one of the housemaids, Proserpina, and fail to be thereafter deeply troubled by it or even to remember the incident except now and then just before falling asleep at night.

Wandering the house one afternoon, not seeking three white cats but in the grip of his peculiar conviction that Theron Hall has grown and is still growing, mentally vague and half inclined to lie down and take yet another nap, Crispin opens the door to the sewing room and finds them in a clinch. Proserpina stands with her back against a wall, and Clarette presses hard against her, grinding her hips, their mouths locked. They are breathing as if something has excited them, and their hair is disarranged. Clarette’s blouse hangs half unbuttoned, and the housemaid’s hand squirms inside, as if searching for something.

They are at once aware of the intrusion, but they are not in the least embarrassed to be discovered kissing. They smile at him, and his mother says, “Did you want something, Crispie?”

“No, nothing,” he says and at once retreats, closing the door behind him.

He hears a burst of laughter, both of them amused. Mortified, as if he is the one caught in some transgression, he means to flee, but instead he leans against the door, listening.

“By the way,” his mother tells Proserpina, “the dates have been chosen. September twenty-ninth, the feast of the archangels, and then October fourth.”

“The feast of Saint Francis of Assisi,” Proserpina says. “Good. One close after the other. I’m tired of this city.”

“Who isn’t?” his mother says. “But I’m not tired of you.”

Crispin thinks they are kissing again, and he hurries away to the library. He spends some time wandering the stacks, looking for a book to read.

If he remembers what he interrupted in the sewing room, he has pressed it from his mind for the moment, as if between there and here he encountered a hypnotist who commanded him to avoid all thoughts of women kissing.

He believes that he is seeking an entertaining novel, one of high adventure, but the book he finds is in fact the one for which he is looking: A Year of Saints. He sits in a wingback armchair and pages through to September 29.

The feast of the archangels includes Saint Michael, Saint Gabriel, and Saint Raphael. The three are depicted in a painting and seem more fanciful than anything in a boy’s adventure story.

He pages forward to October 4, the feast of Saint Francis, who is shown feeding birds and adored by various animals. Crispin reads three paragraphs about this saint, learning nothing, except that any feast honoring the man probably doesn’t include meat.

He doesn’t consciously turn to July 26, the night of Mirabell’s migraine and the eve of her departure for Paris. He stares at the two-page spread for a while before he realizes what he has done.

This day in July is the memorial of Saint Anne and Saint Joachim, the parents of the Virgin Mary. He reads about them but is only further mystified.

Two nights later, he dreams of Nanny Sayo and Harley. The two are on Harley’s bed. The boy wears pajamas. Nanny is in pajamas and a red silk robe. She’s teasing Harley, tickling him, and he’s giggling with delight. “My little piglet,” she says, “my little piggy piglet,” and between his giggles, Harley oinks and snorts. She tickles him mercilessly, until he says, “Stop, stop, stop!” But then at once he adds, “Don’t stop!” She tickles him to exhaustion, until gasping he declares, “I love you, Nanny, I love you so much,” as if this is a confession that she has been demanding from first giggle to last. Upon hearing the boy’s admission of devotion, she says, “Sleep the sleep,” and Harley at once collapses backward onto his pillows, out cold. For a moment, Crispin thinks his brother is feigning sleep, but it is no act. To the boy who can no longer hear her, Nanny Sayo says, “Piglet,” but this time with no affection, in a voice that chills Crispin. In the dream, he had opened the door to Harley’s bedroom without Nanny being aware that he was at her back. Now he closes it softly.

As September unravels toward October, Crispin once in a while remembers this little nightmare, and sometimes he thinks that it was a scene from real life before he dreamed it, that he actually chanced upon Nanny tickling Harley. Perhaps he has forgotten the event itself in favor of remembering it as a dream, because the real moment was too disturbing to consider. But that seems unlikely.

Day by day he spends more time alone, in part because Harley has concocted a silly fantasy about little people who live in the house and who are as elusive as the cats. In fact, the white felines have now become “little cats” to Harley, though he never previously said that they were small. Inevitably, a seven-year-old kid can from time to time be an annoyance to an older brother, and this is one of those times.

On September 29, the feast of the archangels, more than two months after Mirabell went off to France with the butler, Minos, and Mrs. Frigg, Crispin thrusts up in bed with a cry of terror, but his nightmare, whatever its nature, dissolves from memory as he blinks himself awake.

During the morning, hour by hour, his sense of dread grows. He feels that, having awakened from the dream, he is nevertheless in some sense still asleep and that he must now rouse himself from a waking dream in which he has indulged too long.

He eats breakfast and lunch, but the food has little taste.

He tries to read, but the story bores him.

He finds himself in the sewing room, staring at the place where he discovered his mother and Proserpina kissing. He does not know how he got here.

He stands at a library window, watching the traffic on Shadow Street. When his legs begin to ache and he consults his wristwatch, he is surprised to discover that he has been standing there for more than an hour, as if in a trance.

Everyone he encounters on the household staff seems to look at him with barely suppressed amusement, and he becomes convinced that they are whispering about him behind his back.

Shortly before three o’clock, a still, small voice inside him speaks of the miniature room. He realizes that this voice has been whispering to him all morning, but he has rejected its guidance.

Overcome by the conviction that he should be the best sneak that he knows how to be, that he must not let anyone know where to find him, he first loses himself from all the servants. And then, certain that he is unobserved, he makes his way to the third floor by the least-used staircase.

The immense scale model of Theron Hall looms over him. Never before has this exquisitely wrought miniature seemed ominous, but now it threatens as any haunted house in any horror movie ever made.

He half expects storm clouds to form under the ceiling and thunder to roar from wall to wall.

He first intends to ascend the ladder and study the structure from the highest floor to the lowest. But intuition—or something more powerful and more personal—draws him to the north side, where he has to bend down slightly to peer through the window at that end of the main hall on the ground floor.

Upon entering the room, when he switched on the overhead lights, all the lights in the model came on as well: intricate nine-inch-diameter crystal chandeliers that are three feet across in the real house, three-inch-high sconces, blown-glass lamps as short as two inches and stained-glass replicas as tall as six.

For a moment, everything in the thirty-five-foot hallway—which, end to end, is 140 feet in the real house—looks exactly as it always has, and as it should. Then movement startles Crispin. Approaching along this corridor is something low and quick.

Two somethings.

A pair of white cats.

Each cat might be a foot long in real life, but three inches here. They are too lithe, too fluid to be mere mechanical creations. On a flurry of paws, they ripple toward him, but abruptly they cross the hall and disappear through the open doors of the drawing room.

Electrified, fully awake as he has not been in weeks, Crispin quickly circles to the west face of the miniature mansion, finds the drawing room, and discovers two snowy cats, no bigger than mice, on the window seat, peering out at him through the tiny panes of the French windows.

13

December 3, the last night of Crispin’s thirteenth year, his fourteenth ahead of him if he can survive it …

Boy, girl, and dog take the elevator down from the fourth to the second floor where, among other temptations to the wallet, waits the toy department.

Unable to be price-competitive with discounters like Toys R Us, Broderick’s stocks exotic and expensive items not found elsewhere but still moves the more ordinary items at Christmas by making of the toy department a wonderland of highly decorated trees, animated figures, snow scenes, and ten thousand twinkling lights. The space given to this department triples with the season, and many people in the city consider it a tradition to visit the display after their children have moved away from home and even if they don’t have grandchildren to spoil.

Even seen by flashlight, with the leaping reindeer stilled and the capering elves frozen in place in the fake snow, this world of toys is nevertheless impressive. This year, the marvel at the center of the department, the thing that Amity has brought him here to see, is a scale model of the department store.

Broderick’s has commissioned nothing so ambitious as a quarter-scale rendition. Instead, it is forty-eighth-scale, one quarter of an inch to one foot in the real structure. Nevertheless, the model proves to be sufficiently immense to delight children and adults as well. Crispin is a child, Amity an adolescent, both of them adults by virtue of their suffering, and they are charmed. Even Harley rises up with his forepaws on the support table and pants with apparent admiration. The detailing is not as impressive as the obsessive workmanship in the miniature room at Theron Hall, though it is so well done that it’s magical in its own right.

This approximately eight-foot-square reduction of Broderick’s is not the sum of the display. Instead of a glass globe, it stands within a thick Plexiglas case that is filled with a mixture of water and something else, Amity knows not what. She does know where to find the switch that operates it, however, and when the tank lights, it also fills with falling snow that settles slowly through the fluid before being recycled to the top by a pump.

As the night now casts snow down upon the true Broderick’s, so snow falls upon the model, and the real and the fantastical are one. They are always one, of course, but seldom so obviously as here and now, when the modelmakers’ creation and the Creation of which the modelmakers are themselves a part are synchronized to suggest, inescapably and powerfully, that the world is potentially a place of harmony if only harmony is wanted and sought.

They stand in silence awhile, and then Amity says, “Seems to be a sign, don’t you think?”

Crispin doesn’t reply.

“The store has never done this before.”

He keeps his silence.

“The three cats you saw in that other miniature may still be there.”

“Two cats. It was my brother who said he saw three, but in the real house, not in the model. Anyway, they fled from the window seat as I looked in at them. I never saw those cats again.”

“That was your last day in Theron Hall. You never had a chance to see them again.”

“I didn’t understand what they were. I probably never will.”

“They’re unfinished business,” Amity says.

Snow falls and snow falls.

“The store has never done this before,” she reminds him.

Broderick’s stands here within Broderick’s, and both turn with the turning world.

“We’ll have a birthday dinner tomorrow,” Amity says. “And then we’ll consult your cards.”

“I don’t know.”

“You do know. You could have left this city long ago, gone far, someplace they’d never look for you.”

“I think their kind is everywhere. No place to hide.”

“Whether that’s true or not, you’ve stayed in this city because something calls you back to that house.”

“Something that wants me dead.”

“Maybe so. But something else, too.”

“What would that be?” he wonders.

“I don’t know. But you do. Deep down, you know. Your heart knows what your mind can’t quite comprehend.”

Snow falls and snow falls.

14

Nine-year-old Crispin on the afternoon of September 29, the feast of the archangels …

Two minikin cats on a tiny window seat in small-scale Theron Hall react as one, bolting away from the giant boy who peers in at them. They scamper through the modeled drawing room, into the hallway, gone.

He might have hurried window to window in search of them, but before he can do so, he remembers what happened on the night when Mirabell disappeared. The sight of the cats is a purgative, flushing from him all delusion, all spells and enchantments. Everything he has forgotten—or has been made to forget—returns to him in a flood of memories.

How he pretended to sleep when Nanny Sayo stood by his bed. How he sneaked into Mirabell’s room. The rose petals in the bathtub, the silver bowls, the missing toys, the empty closet. His sister’s plea blooming like a shellburst in his mind: Crispin, help me! His parents’ bedroom so ornate that its richness and lush textures suffocated him. Crispin, help me!

Now his legs grow weak. He drops to his knees beside the scale model of Theron Hall.

He recalls also hurrying through the mysteriously deserted house, the servants neither working nor in their rooms, no one to help him. The south stairs winding down to the locked basement door. The voices beyond. Chanting.

In memory, he turns to climb the stairs. Towering over him is Cook Merripen in a black silk robe. Holding a thermos from which he has unscrewed the lid. This might be the same thermos in which Nanny Sayo left chicken noodle soup for the boy when he was ill. The cook slams Crispin back against the locked door. The boy cries out, the thermos tips, and a torrent of something warm and vile gushes out of the insulated bottle and into his mouth. It tastes like chicken soup but rancid, the noodles slimy. Crispin chokes on it, tries to spew it back, but is forced to swallow. As his vision clouds and darkness spills through his mind, the last thing he sees is the hate-distorted face of Merripen as the cook says, “Piglet.”

Having collapsed entirely on the floor of the miniature room, further weakened by the very recognition of his weakness in recent days, shamed by his gullibility, torn by guilt over his failure to help his sister, he weeps for a while … until his weeping begins to sound pitiable. Soon it is worse than pitiable—like the wretched complaint of a wounded and helpless animal.

The whimpering boy he hears is a boy he doesn’t want to be, a boy who is not the truest Crispin that he is capable of being. Shamed anew but for different reasons, he gets to his hands and knees, and then to his feet, swaying but sure-footed.

He has known since waking this morning that this is September 29, the feast of the archangels, but with his new clarity of mind, he suddenly knows what the date portends.

“Harley,” he says, and when he speaks his brother’s name, his tears seem to dry in an instant.

At 3:37, the afternoon is waning, but there is still time. They are two now, two little bastards, piglets to some. If Crispin is worth anything, if he has the potential to be the boy he wants to be, then he will deny them their feast, disrupt their celebration, and leave Theron Hall with his brother unharmed.

At all costs, he must appear to be clueless, neither suspicious nor afraid. He hesitates in the miniature room until his legs are sturdy under him and his hands have stopped trembling.

Crispin descends to the second floor and proceeds directly to Harley’s room. He is dismayed but not surprised to find that his brother isn’t there.

The boy’s toys have not disappeared. His picture books are here. His clothes have not been removed from his closet. Time remains to rescue him.

In Harley’s bathroom, perhaps a triple score of candles flicker in glass vessels. In the opposing mirrors, legions of flames burn in ranks receding to infinity.

Two silver bowls have been left on the floor.

A film of water glistens in the bottom of the bathtub. No rose petals here. Instead, stuck to the enameled surface are a few kinds of sodden leaves, some of which might be basil, for that is what he smells.

On July 26, the celebration was held in the late hours of the evening, after nine-thirty. Most likely the same schedule will be followed this time. With perhaps six hours until that event, Harley is alive but being held somewhere.

From his brother’s room, Crispin dares to take the north stairs to the basement. At the bottom, the door is not locked. He opens it, steps into darkness, and switches on the hallway lights.

For a long moment, he stands listening to a silence deeper than any he has heard before, as though the basement is not part of the house but is, instead, part of a ship drifting in deep space, far beyond the light of any sun, in a vacuum through which no sound can reach it.

Fear creeps the chambers of his mind, but his duty to his lost sister and to his still-living brother is a leash by which he brings the fear to heel.

The corridor separates the front of the building from the back. Toward the front, the west, are two doors. The first opens to a hundred-foot-long swimming pool, and the second serves the heating-cooling plant.

Harley is in neither chamber.

On the east side of the hallway are two doors. Behind one is a storage room, and Harley is not there, either.

Judging by the dimensions of the storage room, the space behind the next—and final—door must be about eighty feet by thirty-five. This huge chamber is accessed not by a simple metal fire door like all the others, but by a cold slab of stainless steel hung on a continuous barrel hinge. It is locked now, as always.

When he raps one knuckle against the door, it sounds solid enough to stand against battalions with sledgehammers, an impossible challenge for a nine-year-old boy.

If Harley is in there, he is lost. Leaning his forehead against the steel, however, Crispin convinces himself that the boy is not yet in this mysterious room. He is certain that he would know if his brother was this close and restrained; he would surely feel some of Harley’s despair.

He turns out the lights and retreats to the ground floor.

By the time he reaches the library, he decides that he must call for help. But call who? Giles Gregorio might be the richest man on Earth, and Clarette says that he is friends with not just the chief of police and the mayor, but also with kings and presidents all over the world. Crispin is a mere boy, with no money of his own, with no friend but his brother.

Firemen. Firemen are brave. They risk their lives for people. Maybe a fireman would believe him.

In the library, after ascertaining that no one lurks among the maze of stacks, he snatches up the telephone handset to call the fire department. No dial tone. He repeatedly depresses the plungers, but the line remains dead.

He doesn’t need to go room to room, trying other phones. He knows they will all be useless to him.

Clarette, Giles, and members of the staff have cell phones. But Crispin would have to be invisible to slip among them and steal one.

Before coming to Theron Hall, they didn’t have computers. But they never use those here, Mr. Mordred has not taught them, and Crispin doesn’t know how to send an email.

From a library shelf, he snares a book, another boy’s-adventure novel. He doesn’t intend to read it, only to use it as a prop.

Pretending to be immersed in the story, he wanders the house, apparently reading as he walks, pausing here and there to sit, hoping that when he is seen, he will not appear to be engaged in a desperate search.

After an hour and a half, Crispin has ventured everywhere that he is able, without discovering any hint of Harley’s whereabouts. He has even dared to enter his parents’ suite to search it.

Other than the basement room behind the steel door, the only places inaccessible to him are the servants’ quarters on the ground floor and Jardena’s suite on the third. If he thought Jardena might be out shopping, he would risk entering her domain, but in light of the approaching celebration, the matriarch is almost certainly at home. Preparing.

He suspects that Harley isn’t in Jardena’s suite or locked in one of the servants’ rooms. His perception in recent days that Theron Hall is bigger than it appears to be, that it’s continuously growing larger, now serves as a basis for a new conviction that the house contains secret passageways and hidden rooms that he must somehow find if he is to rescue his brother.

At six o’clock, he is in the children’s dining room, as they expect him to be, pretending to read his novel at the table, when Arula enters with the serving cart.

“I don’t know where Harley is,” Crispin says. “Probably playing something somewhere. He’s always losing track of time.”

“Oh, I guess no one told you,” Arula says, as she sets his plate before him. “The poor thing had a toothache. Your mother has taken him to the dentist.”

“Do dentists work this late?”

“For a child of a man as important and admired as Mr. Gregorio, people are willing to make all kinds of exceptions.”

After Arula leaves, Crispin stares for a while at his food: two chili-cheese dogs and french fries. He will never eat another bite of anything prepared in Theron Hall.

Anticipating a visit from Nanny Sayo, Crispin conceals an entire chili hot dog and a torn-off piece of the other one, plus a handful of fries, in a drawer of the sideboard, between folded tablecloths. He returns to his seat and wipes his messy hand on his napkin.

Soon Nanny appears. She is already dressed for bed in black silk pajamas and a red silk robe.

He is holding the prop book in his right hand, pretending to have paused in his eating, riveted by the tale.

“Sweetie, you’ll get sick eating so fast.”

“I’m starved, and it’s really good,” he says, hoping that she isn’t suspicious.

She pulls out the chair next to his, turns it sideways, and sits facing him. “What’s the book about?”

Eyes riveted to the page, he says, “Pirates.”

“Exciting, huh?”

“Yeah. Sword fights and stuff.”

She lays her right hand on his right arm. “I love a good story. And you read so well for a boy your age. Maybe we could snuggle in bed together, under the covers, just the two of us, and you could read to me. Wouldn’t that be nice?”

She has never been under the covers with him. He does not know if she means this, why she suggests it, what he should say.

He meets her eyes, which are large and black and pretty. Her stare is so sharp that he half believes she can cut through any lie he tells and see the truth he’s hiding.

Nevertheless, he says, “That would be cool. But maybe you could read to me. I’m kind of sleepy.”

“Are you, sweetie?” she asks. “So early?”

He stifles a phony yawn. “Yeah. I’m really bushed.”

“I’m sure you are,” Nanny Sayo says as she glances at his plate. She meets his eyes again, her right hand now tenderly massaging his arm. “Maybe you can read to me tomorrow night. Nanny’s tired, too.”

She’s lying. Crispin’s surprised at how obvious her lie is to him. He is not sleepwalking anymore. He’s alert. She isn’t tired at all. She’s excited and barely able to contain her excitement.

Over two months have passed since July 26, the night they took Mirabell down to the basement. They’re eager to have Harley. And they think they will have Crispin, too, in just five days, on the feast of Saint Francis.

Nanny Sayo scootches in her seat a little, perhaps not aware of what she’s doing, like a small girl eager to leave the table.

“Tomorrow night, I’ll read to you,” Crispin says. “I’ll read you to sleep.”

“That will be nice,” Nanny says. “Won’t that be nice?”

“Sure. Really nice.” And then, without knowing what he means by it yet aware that it is the right suggestion to make, he says, “Just the two of us, and we don’t have to tell anybody.”

Her stare seems to drill right through him and out the back of his head. At last she whispers, “That’s right, sweetie. We don’t have to tell anyone.”

“All right,” he says.

She leans forward, her face inches from his. “Give Nanny a good-night kiss.”

Although he has always before kissed her on the cheek, he knows intuitively what he must do to ensure her trust. He leans forward and clumsily kisses her full on the mouth.

“Sleep tight, little man,” she whispers.

“You too.”

After Nanny Sayo has been gone for a few minutes, Crispin dumps the rest of his dinner into the sideboard, between the folded linens.

In his room, one of the maids has turned down his bed earlier than usual.

With spare blankets, he tries to shape the body of a sleeping boy. He stuffs one of his pajama tops with a rolled towel to fill out an arm of it, and he arranges things so only the arm lies outside the covers, the hand apparently under his pillow. The head of this fake boy is beneath the covers, as well, but Crispin often burrows when he sleeps, and she will have seen him like this before.

He places the pirate novel on his nightstand and dials down the lamp to its dimmest setting.

In the dark closet, leaving the door ajar an inch, Crispin waits impatiently for forty minutes before Nanny Sayo returns. She goes to his bedside and gazes down on what she thinks is her little man.

Unlike the night of July 26, she does not pay a lengthy visit, tarries perhaps half a minute, not long enough to wonder that this sleeping boy is breathing too shallowly to be heard. When she leaves, she hurries in a silken rustle and closes the door less quietly than usual, convinced that his dinner has undone him.

After waiting a few minutes, he cautiously leaves his room. The second-floor hallway is deserted. The stillness that has settled on the house reminds him of the ominous hush on that terrible night in July.

The time is only 7:42. On that other night, the night of Saints Anne and Joachim, Theron Hall was not this quiet until nine-thirty. Maybe this feast will begin early.

Certain that Nanny Sayo’s eagerness is shared by all the rest of them, that something bad might happen to Harley sooner than anticipated, Crispin makes no effort to be stealthy. He races along the hallway to the central stairs, which servants and children are never supposed to use.

Between the second and the ground floors, two staircases sweep down the walls of a round foyer, forming a kind of harp when you look at them from below. He takes the nearest, descending two steps at a time, and dashes across the marble-floored entry to the front door.

He intends to run into the street, flag down vehicles, bring traffic to a stop, look for a police cruiser. He’ll tell them that terrorists have broken into Theron Hall and taken everyone hostage, his parents and brother and the entire staff. Terrorists with guns, and they’ve taken everyone to the basement. Crispin will make so much commotion that the police will have to send in a SWAT team like they always do on TV, and when that starts to happen, nobody will dare do anything to Harley. They won’t dare.

When he yanks open the front door, he discovers a uniformed policeman standing on the doorstep, not facing Crispin as if about to ring the bell, but facing the street as if guarding the house. He is a big man, and when he turns to the boy, he’s got a billy club in one hand. His face is broad and hard and, in the stoop light, red with anger.

“You should be in bed, piglet.”

Crispin lets go of the door, backs away as it swings shut. The policeman can be seen in silhouette through the beveled and lightly frosted glass in the top half of the door, but he does not attempt to come inside.

Crispin’s heart is knocking hard against his breastbone, as if it wants to break out of him.

He sprints through the house, into the deserted kitchen. This should be a busy place right now, because dinner is always served to Clarette and Giles promptly at eight o’clock. Nothing simmers on the stove, and the ovens are off.

A cop stands also on the back doorstep. In fact, it seems to be the same officer or his twin, facing the door this time, billy club in his right hand, rapping it menacingly into the open palm of his left.

“I have my assignment, piglet. You’ll find me at every door you open.”

15

Sunday, the fourth of December, on the evening of Crispin’s thirteenth birthday …

Snow fell through the previous night and all morning, but in the afternoon the storm relented.

They sit across from each other in the same booth in Eleanor’s, though this time Harley lies on Amity’s bench, his head in her lap. Dinner is done, and the dog is dozing.

She sings the birthday song softly, sweetly. It’s corny, but he doesn’t stop her. Her singing voice is lovely.

After the song, she says, “Tell me again about the cards.”

“I told you the first time I was here. There’s not much to it, really.”

“I want to understand better.”

“There’s no understanding it.”

“Try me.”

Her face is lovely in the candlelight. There is nothing of Nanny Sayo in this girl and never could be. Nothing of Clarette, either, or of Proserpina.

Crispin taps the deck, which lies on the table, in its box. “The shop sold magic tricks and games. The old man, the owner, said dogs were welcome.”

“This was the night of the day you first met the dog.”

“Yeah. I hadn’t named him yet. After I bought the cards, me and Harley sneaked down to the shop’s basement to stay the night.”

“The owner didn’t know you were down there.”

“Nope. He closed us in when he closed the shop.”

“Why did you buy the cards?”

“I don’t know. It just seemed …”

“What?”

“Something I needed to do. That was my second day on the run, so the feast of the archangels … that was still so fresh with me. Middle of the night, I woke up from a bad dream about my brother, woke up saying his name. That’s when I named the dog Harley. When and why.”

The sleeping dog snores softly in Amity’s lap.

“That’s when you opened the deck the first time,” she presses, for she knows this story well.

“We had a light down there in the storeroom. The cards were something to do, to take my mind off … whatever. It was a brand-new pack. I know it had to be new because I broke the seal, stripped off the cellophane.”

He opens the box now, removes the cards, but leaves them stacked facedown.

“I shuffled them,” he remembers, “I don’t know … maybe five or six times. I was nine, the only card game I could play was five-hundred rummy, but I couldn’t even do that because I didn’t have anyone to play with but the dog.”

“So you just dealt two hands faceup, so you could play against yourself.”

“Stupid kid idea, playing against yourself. Anyway, the first four cards I deal are the sixes.”

The memory still disturbs him, and he pauses.

She can read him better than anyone has. She gives him time, but then nudges with three words: “Four moldy sixes.”

“A brand-new deck, but the sixes are dirty, creased, and moldy.”

“Like the sixes on the warehouse floor.”

“Exactly like. There were other cards scattered on the warehouse floor when the dog led me in there to the dead junkie and his money, but the sixes were all together, faceup.”

“All together when you went in.”

“Yeah. But when we came out, only one six was on the floor. All the other cards seemed to be scattered where they had been, but three of the sixes were missing.”

“Someone took them.”

“No one was there. And who would want some moldy old cards?”

In the basement storeroom of the magic-and-game shop, he had sat staring at the filthy cards for a long time, afraid to touch them.

“What I finally did was go through the rest of the deck to make sure there wasn’t a completely different set of sixes, clean ones, but there wasn’t.”

“And none of the other cards were dirty or creased, or moldy.”

“None,” he confirms. “I just didn’t want to touch those four, like there was a curse on them or something. But Harley kept sniffing them and looking at me. So I decided if they didn’t scare him, they shouldn’t scare me.”

Harley sighs and shudders, still asleep but evidently dreaming of something that pleases him.

“I put the moldy sixes on top of the deck and reached for the box to stow them away. But Harley slaps one paw down hard on the box before I can pick it up.”

“Good old Harley.”

“He gives me this stare that seems to say, What are you doing, boy? You’re not done with this yet.”

“The hairs were up on the back of your neck.”

“They were,” Crispin agrees, “but in a kind of good way. I don’t know what the dog wants me to do, so I shuffle several times and deal out four cards again.”

“The four sixes, but not the moldy ones.”

“You might as well tell it, since you know it so well.”

“I’d love to tell it if I knew anyone to trust with the story. But I like to hear you tell it.”

“With your editorial assistance.”

“No charge,” she says, and grins.

Her smile reminds him of Mirabell’s, and he loves her like a sister.

“I shuffle, deal, and right away turn up four sixes, but not moldy now. As crisp and clean as all the other cards. I go through the deck, looking for the damaged sixes, but there aren’t any.”

“Harley still has one paw on the card box.”

“He does. And for maybe an hour I keep shuffling and dealing, trying to turn up four moldy sixes again, or even four clean new ones, all in a row.”

“But it doesn’t happen.”

“It doesn’t,” Crispin agrees. “And then I hear myself say what I never thought to say. I mean, it all comes out of me like someone’s speaking through me. ‘Harley,’ I say, ‘when those four ugly ones come up again in a row, if they ever do, it’ll be time for us to go back to Theron Hall.’ ”

“So then he takes his paw off the box.”

“He does.”

“And you put the cards away.”

“I do.”

Amity leans back in the booth and crosses her arms over her chest, hugging herself. “Now comes the part I like best.”

Harley snorts, wakes, yawns, and sits up on the bench beside the Phantom of Broderick’s.

16

Nine-year-old Crispin on the night of archangels …

Whether the policeman on the two doorsteps is one man, twins, or something else altogether, Crispin is not going to be able to get help from outside the house.

Theron Hall seems deserted, and that means they are all in the basement. And his brother is down there with them. The feast, the celebration—whatever it is besides plain murder—will soon begin or has begun.

In his mind’s eye clearly appears one of the paintings from the book titled A Year of Saints. The three archangels. Gabriel carries a lily, and Raphael leads a young man named Tobias on some journey. Michael is the most formidable of them, clad in armor and carrying a sword.

From a rack of knives near the cooktop, Crispin selects the longest and sharpest blade.

Off the kitchen are two small offices, one belonging to the head housekeeper, the other used by the two butlers, Minos, who is now in France, and Ned. The butlers keep a wall-mounted metal box in which hang an array of spare keys, all labeled.

Crispin isn’t sure when he learned of this key collection, if he ever did, but now he takes a key labeled BASEMENT from one of the pegs. On second thought, he takes also a key labeled HOUSE. The keys and the knife, the wisdom and the sword.

On the desk lies a ledger in which Ned is balancing the petty-cash account. Beside the ledger is an envelope that contains sixty-one dollars in cash. Crispin takes only eleven dollars. He stuffs the two fives and the single in a pocket of his jeans. This isn’t stealing, this is desperate necessity. If it were theft, he would take all sixty-one bucks. And even if it might be to some degree stealing, it is also something much worse than theft, which he will in time understand.

He races down the south stairs to the basement door, glances back, but is not stalked this time by Cook Merripen. The key turns the lock, the bolt retracts, and the door opens into the lowest hall in the house.

As he crosses the threshold, he hears the chanting, which he’d been unable to hear on the farther side of the door because his heart is raising a rhythmic thunder in his ears.

The great steel slab stands open, and the light of many candles dances through the doorway into the otherwise shadowy corridor. He smells incense, too, a cloying fragrance utterly different from but somehow reminiscent of the aroma of the hideous stuff that Merripen poured into Crispin’s open mouth from the thermos.

He’s drawn forward by love for his brother, but he is at the same time hesitant, fearing not only for his own life but also for some other loss at the moment nameless but terrifying to consider. He’s never been so conflicted before, determined to spare Harley no matter how many of the enemy he must slash his way past … yet at the same time struggling with a desire to drop the knife and fall to his knees and do whatever they want of him now, right now, not five days from now on the feast of Saint Francis.

When he comes to the doorway, he discovers a chamber brightened mostly by candles standing on tiered tables around three sides of the room, a thousand candles if there’s one. The yellow-orange flames seem to quiver in time with the chanting, which is in a foreign language, maybe Latin.

Knife held out before him, Crispin crosses the threshold, past which the concrete floor leads to what seem to be numerous mattresses laid side by side and covered with black sheets. He halts when he realizes that they are all here and then some—the entire staff and perhaps a dozen strangers, Clarette and Giles, Nanny Sayo—and that they are all naked.

Crispin has never before seen anyone naked except himself and his brother. The sight of these bare bodies embarrasses him, shames him that he should be staring at them as he does, but also sends a not unpleasant shiver up his spine.

Perhaps half the assembled are standing and chanting, and the others are either on their hands and knees or lying in strange postures, moving together in urgent rhythms, writhing. He needs a moment to understand that they are doing the man-woman thing, of which he has only the vaguest understanding, the man-woman thing, but the couples are not always a man and a woman, and they are not always only couples.

None of them appear to notice him. Not yet. He is a small boy still outside the main crescent of candlelight, largely shadowed but for the knife blade that glimmers as if it’s gold.

He sees Nanny Sayo doing something disgusting. She disgusts but also tantalizes him, and he takes two steps toward her before he realizes what he is doing and halts. A fresh terror, different from any he has known before, shears through him, because he realizes that if she sees him and turns those eyes on him, those pretty black eyes, the least terrible thing that might happen to him is that they will kill him. The sinuous candlelight, the rich incense that is one moment an exquisite perfume and the next moment a suffocating smog, the chanting, the supple movements of the writhing bodies, and now, from somewhere, reedy music: All of it does nothing so innocent as sweep over Crispin, a tide of experience, but instead envelops him, seems to take him as his nanny has sometimes taken him in her arms, surrounds him and lifts him, welcomes him. If Nanny Sayo catches sight of him now, if she meets his eyes, he knows in his heart that he might wake up years and years from now, not sure how he has gotten wherever he might be at that time, not sure who he is, sure of only one thing, that he is owned by someone, that he is a slave to her.

This sensory stimulation has so overwhelmed him that only now does he raise his eyes from the crowd to what lies elevated beyond them. On a long white marble table lies Harley, dressed in a white gown like a choirboy, a wreath upon his head. He is chained to steel rings in the pale stone. His jaws stretch painfully to accommodate a green apple in his mouth, and the apple is held in place by a strap that goes around his head. Crispin looks higher yet and sees Jardena and Mr. Mordred, both in black robes. Masks are tilted off their faces, onto their heads, but now they pull them back in place, masks so realistic that suddenly Mr. Mordred seems to have the head of a leering goat, Jardena the head of a snarling pig.

Another time, these masks might strike him as funny, Halloween dress-up, silly play-acting, but this is different because the faces under the masks are their masks, and the elaborate masks of goat and pig are their true faces. If people can be so different from what they appear to be, maybe nothing in the world is what—or only what—it seems to be.

Behind and above Jardena and Mr. Mordred, on the back wall, hangs an object of which Crispin cannot immediately make sense. After a moment, he realizes that it is a crucifix hung upside down.

Over the chanting and the music, Crispin hears a more intimate noise, a buzzing. A few feet above his head, a serpentine stream of fat horseflies winds out across the celebrants. These must be their marks, birthmarks, tattoos, whatever, once just silhouettes on their skin but now become real for the duration of the ceremony, swarming. He suspects that if one of the flies chooses to settle upon him, he will be lost.

As the chanting of the standing members of the congregation reaches a higher pitch, Crispin looks back toward Harley in chains. The raised dagger in Jardena’s hand has a serpentine blade across which candlelight flows like a liquid.

Crispin is just a boy, a small boy with weaknesses of character, which have been encouraged since he came to live in Theron Hall. He is a boy whose formation is incomplete, whose heart is still a work in progress. He is a boy without the substance to be a warrior, and he is too late. The dagger plunges, and Crispin flees, runs from the horseflies and from the magnetic eyes of Nanny Sayo before she can turn them on him, runs from all responsibility for his brother, but also—as he will realize only years later—he runs from what calls to him seductively, from what he might have been if his weaknesses had run deeper or been worse.

Breathing hard and raggedly, he finds himself in the foyer, without the knife but with the book, A Year of Saints, on the cover of which is a different portrait of Saint Michael, not in the company of Gabriel and Raphael this time, as in the interior illustration, but alone and fierce.

Crispin pulls open the door and is confronted by the policeman who can be everywhere at once. “Useless little coward,” the hulking cop declares, and he swings the billy club, which shatters when it strikes the image of Saint Michael on the cover of the book.

The boy dodges as the policeman reaches for him, and he races away from the house. He sprints across the sidewalk, springs off the curb and into traffic.

On the farther side of Shadow Street stands the Pendleton, bigger even than Theron Hall, once a mansion for a single family, now an apartment building. He knows no one in the Pendleton. The place does not look welcoming, looks in fact like another kind of terror waiting to entrap him.

Brakes shriek and car horns trumpet like prehistoric beasts, vehicles swerve around him with only inches to spare, but Crispin doesn’t care what happens to him anymore. He runs the center of the avenue, down Shadow Hill, taillights to one side and headlights to the other, and the sea of lights that is the city seems to rise like an incoming tide to meet him.

One street becomes another, another, another. Alleyways entice, and in one of them a man who smells of stale sweat and whiskey grabs him—“Whoa there, Huck Finn, you got something for me?”—but Crispin wrenches free.

He runs, runs until his chest aches, until his throat is raw from breathing through his mouth. When at last he halts, he is standing on the sidewalk at an entrance to St. Mary Salome Cemetery.

Although he does not remember dropping it, the book with Saint Michael on the cover is gone. He has no recollection of digging the rumpled bills from his pocket, either, but clutched in his right hand are the two fives and the single that he took from the petty-cash envelope on the butler’s desk.

So much of such devastating import has happened in the past hour that Crispin shouldn’t be able to unravel a complex thought from his mental and emotional mare’s nest. But as he regards the money in his hand, he realizes that the moment he took it, he knew that he would not die to save his brother, that in the end he would cut and run. This was his getaway money, a pathetic little stash to tide him over during his first day or two on the streets. He could have taken the entire sixty-one dollars, but he would have known right then that he had no intention of heroic action. He prided himself on taking only eleven, on not being a thief, to distract himself from the truth of his cowardice. He went into the basement not to find and save his little brother, not really, but instead because the secret of the room behind the steel door was alluring, as alluring as the luxury of Theron Hall, as tempting as a life of leisure, as seductive as Nanny Sayo.

He begins to weep and then to sob uncontrollably for Mirabell and for Harley, but also for himself, for what is lost as much as for who is lost. He tries to throw down the money, but his hand has intentions of its own, cramming the bills into his pocket once more. He cannot run from the money because it is part of him now, and he can’t run from himself, no one can, but he tries.

He races into the cemetery, weaving among the headstones, which in the moonlight appear to be carved of ice. He wishes this were as simple as a creepy comic book, wishes someone long buried would erupt from the ground, judge him with a few harsh words, seize him, pull him down, and bring him to his end. But the dead want nothing to do with him, they will not rise for him, neither will they speak.

At last, at the center of the cemetery, having passed through the arrangement of mausoleum walls where ashes rather than bodies are interred, in the center of the circular lawn, he clambers onto the circular mass of granite that serves as a bench, and lies on his back.

No slightest susurration of the city reaches here. His labored breathing and his sobbing are the only sounds. He cries himself to silence among these memorials to lost souls.

He thinks that he will never sleep again, that he is too wicked to deserve sleep. He lies on his back, staring at the moon, and the cratered face of the old man in the moon seems to stare back at him. The night sky grows deeper. The earlier stars call forth others. He sleeps.

17

Hard years of change, now Crispin thirteen, no longer quite a boy, not yet a man …

Good dog Harley sits on the booth bench beside Amity Onawa, as if the part of the story that the girl likes best is also the most appealing part to him. His eyes twinkle in the candlelight.

“Harley takes his paw off the empty box,” Crispin continues, “and I put the cards away. I’m able to get back to sleep for a while, with no bad dreams. In the morning, I expect to go upstairs to the magic-and-game shop before the start of the business day. I should be able to unlock the front door from inside, and if I can’t, me and Harley will wait until the old man and woman open the place, then we’ll dash out past them, no explanations.”

“Sounds easy,” Amity says, and smiles again.

“Totally easy. Except when we go upstairs from the basement storeroom, there isn’t any magic shop like there was the night before. The store is empty, bare, no business there of any kind.”

“No old man with green eyes and six emerald rings.”

“No one, nothing,” Crispin confirms. “Hasn’t been anything happening there for a long time, judging by the dust and cobwebs.”

“But the storeroom …”

“I go back down the stairs. Harley doesn’t bother coming with me, as if he already knows what I’ll find. Which is nothing. All the shelves and all the stock on them are gone. The storeroom is as empty as the store above it.”

“This is two days after you ran away from Theron Hall.”

“Two days but the third night. After everything that happened in Theron Hall, maybe I should have been scared half to death by the magic shop disappearing, but I wasn’t.”

She stares at him unblinking. He does not look away from her, because this is the hardest part for him to tell, and it means more if he can tell it eye to eye.

“I was able to unlock the door from inside, and we closed it behind us as we went. The day was warm for early October, the sky so blue, and birds singing in the streetside trees. I looked back at the shop and saw a FOR RENT sign taped to the inside of the door glass. At the bottom was a phone number and a Realtor’s contact name. The name was Miss Regina Angelorum. I was too young then to know that it was a name but also more than a name. Years would pass before I knew what it meant, but right then, at the start of my third day free of Theron Hall, I was certain that in spite of my many weaknesses, in spite of my cowardice and my failure to save Mirabell or Harley, I was meant to live, to grow and change, and to accomplish something in this world that mattered.”

They are silent together in the candlelight.

Amity’s eyes are worlds of mystery, as Crispin imagines his eyes must be to her.

Four candles in red-glass cups brighten the table. But for what comes next, Amity wants more light. Earlier she gathered four more candles for this moment. With a butane match, she sets the wicks afire.

Crispin opened the box of cards earlier. Now he shuffles three times, hesitates, then shuffles thrice again.

Amity wants him to deal, and yet she doesn’t. She reaches toward him with one hand, as if to stop him, but then crosses her arms on her chest once more and hugs herself.

With no false drama, dealing them quickly, Crispin turns up four sixes. They are clean cards when they leave his hand, but as he turns them over, they are dirty, creased, and moldy.

The time has come for him to return to Theron Hall.

18

Having dealt the four sixes on Sunday evening, he must wait until the first employees arrive on Monday to avoid triggering the perimeter alarm. Following a route described by Amity, boy and dog slip out of the department store without being seen by any of the early-arriving guards and maintenance people.

They have no reason to wait for nightfall before approaching Theron Hall. There is no safety in darkness and perhaps more risk.

The first snow of the season fell Saturday night through Sunday morning. Already another storm has moved in. As Crispin and Harley set out for Shadow Hill, Shadow Street, and the house at the crest, new snow begins to sift down upon the old.

Winter transforms the city, white petals floating through an almost windless day, and everywhere the mantles and plowed mounds of the weekend storm remain largely pristine, not yet badly soiled by a workday. How easy it might be to think that with the casting down of this crystal manna, the great metropolis has been sanctified, that it is as innocent as these bridal veils make it seem. Easy for others, perhaps, but not for Crispin.

They approach the grand house from the back street, which is too wide and—when the pavement is visible—too ornately cobbled to be called a mere alley.

A stately carriage house, which serves as a garage, stands at the rear of the property. The pathway that leads from garage to house hasn’t been shoveled, and no footprints disturb the coverlet of snow.

According to what Amity overheard when she served Clarette and friends tea in Eleanor’s a couple of weeks earlier, the family—if such a word applies—and most of the staff are by now in Brazil.

The few who remain have evidently kept busy inside rather than venture into the cold.

Crossing the exposed ground between garage and house, Crispin searches the three floors of windows. No pale face appears at any pane.

A part of him believes that the power that has saved him often in the past few years, the power that wants him to return to Theron Hall to conclude unfinished business, has armored him against harm and will lead him to the third floor and safely away again without a violent encounter. But another part of him, a less wishful Crispin and one who knows that journeying through the fields of evil is the price we pay for free will, expects the worst.

If they know that he stole one of the spare house keys on that September night, they might have changed the lock. Or they might leave it unchanged in anticipation of his return.

Of the three back doors, he chooses the one that opens into the mud room behind the kitchen. The key works. He eases the door open.

The space is dark but for the snow light that presses coldly through two small windows.

He stands listening to a house so silent that perhaps everyone went to Rio, leaving only ghosts behind.

Because he doesn’t want to take off his backpack to use a chair, Crispin leans against the cabinetry to use the mud room’s small whisk broom to brush the caked snow from his shoes and from the legs of his jeans.

The dog shakes his thick coat, flinging off melted snow and bits of icy slush. That noisy moment of grooming doesn’t raise an alarm, which must mean that no one on the skeleton staff is nearby.

Aware that they will for a while leave wet footprints, Crispin is nevertheless disposed to move at once rather than dry his shoes and the dog’s paws with rags.

The kitchen is as shadowy and deserted as the mud room. The only sound is the hum of the refrigerators.

If three or even four of the staff have stayed behind to keep the house clean and functional, they are spread over such a vastness of rooms that he is unlikely to come face-to-face with one of them. He must also remember that, whatever else they may be, they are not demons. They are still human beings, as vulnerable as he is, as prone to error.

The boy decides to let the dog lead, and Harley takes him to the south stairs. Within the open tube of stone, the bronze railing and the spiral treads wind upward like the twisted spine of some bizarre Jurassic beast.

At the top, he leans over the railing and looks down, to be sure that no one is ascending quietly behind them. At the bottom of the stairwell, a full moon shines, as though Crispin is gazing up through a roofless tower instead of down. He assumes that whether this is a trick of light or something more, it is in either case a sign, and not a bad one, because the moon has always been to him the lamp of wisdom, a symbol of the right way to see the world.

They walk the third-floor hall and arrive at the miniature room without incident.

When Crispin switches on the overhead lights, the chandeliers and lamps within the scale model brighten as well.

Harley has never been here before. Although he’s an unusual mutt and perhaps something more than a canine, he behaves as any dog might in a new place: He puts his nose to the floor, sniffing this way and that around the solid pedestal that supports the huge scale model.

Crispin begins with the drawing room where, on the afternoon of the feast of the archangels, the two mouse-size cats perched on the window seat and peered at him through the French panes.

At once a white feline form enters the miniature room from the hallway, races to the window seat, springs up, and blinks its little green eyes. When Crispin touches one fingertip to the window, the cat rubs its face against the inside of the pane, as though yearning for contact with him.

The boy has had more than three long years to think about this extraordinary reproduction of Theron Hall, and he is not surprised that only a single cat greets him this time. Three cats for three children. With Mirabell dead, two cats appeared to Crispin on the afternoon before Harley was chained to that altar. Now, of Clarette’s three little bastards, only one remains, therefore one cat.

As the cats were somehow reduced to three inches and imprisoned in the miniature Theron Hall, so the three children were in their own way imprisoned in the real house. The cats were avatars of Mirabell, Harley, and Crispin; and if the cats ever escaped, the children would cast off their spells and break free, too.

Now that Mirabell and Harley are dead, two cats are gone. An avatar is an embodiment of a principle. If the principle—in this case a child—ceases to exist, the avatar might cease to exist, too, if you think of the child as just an animal, a meat machine.

Every child, every human being, however, is more than just a physical presence, which Giles Gregorio and his freak-show family well know. These apostles of the dark side want not only the blood of the innocent—a perversion of “Do this in remembrance of me”—but also their souls.

When a child is murdered in a ritual act, the soul will not be condemned forever. No action of an innocent could earn damnation.

Crispin is certain, therefore, that in the way that matters most, Mirabell and Harley are still alive, their spirits imprisoned in the scale model of Theron Hall.

He has survived so that he might free them.

Years of brooding on the subject leads him to the conclusion that the souls herein don’t have the same freedom of movement within the miniature structure that the avatar cats enjoyed. If they are captive, they will be in the room that the Gregorios regard as the most important—the altar room behind the steel-slab door.

The only level of Theron Hall not represented in this model is the basement. But it must be here, hidden in the presentation plinth on which the aboveground floors now stand.

As Crispin finishes shrugging off his backpack, the dog whines softly to attract his attention.

At the south end of the thirty-five-foot model, Harley sniffs vigorously at the overhanging surbase of the plinth.

Easing the dog aside, Crispin feels under this lip … and finds the switch.

Motors purr, the structure rises from the base that supports it, and inch by inch the underground level appears. Because ceilings in the basement are at only nine feet, the fully exposed cellar measures twenty-seven inches high in one-quarter scale, and it is presented as a long expanse of poured-in-place concrete.

Crispin hurries to his backpack, removes a claw hammer from a zippered compartment, and goes around to the back—the east—side of the model.

If any of the remaining staff is on the third floor, this is the most dangerous moment of the operation. The foundation concrete through which he needs to break is phony of course, but the top three floors of the model must rest on this, so there will be some sort of structure behind the faux concrete. The noise might not be contained within this room.

He swings the face of the hammer first, caving in a swath of the basement wall, and at once he discovers that the noise he makes here will be dwarfed by the greater noise of the west basement wall of the real house sustaining damage identical to that wrought upon the model. The miniature Theron Hall and the real one shudder, and as Crispin continues to hammer, he hears great slabs of debris crash to the basement floor four stories under him.

He reverses the hammer, using the claw to tear away chunks of the wall. As supports far below in the true house groan and as the floors on every level creak and pop, he exposes the altar room in the model.

In there, a thousand flickering electric lights in a thousand tiny glass holders mimic the candles that he saw on the night that his brother was killed. He is behind the altar, having knocked aside the upside-down crucifix. He reaches into the satanic church, seizes the marble table that serves as an altar, and rips the eighteen-inch miniature from its mounts. He places it on the floor and hammers it twice, until it cracks in pieces.

At that moment, from the hole that he has made in the basement wall of the model, a flock of what he first takes to be immense white moths or butterflies erupts, brushing his face, fluttering around his head. But then he sees that their wings are white dresses or choirboy robes and that they are children, some as small as six inches, the tallest perhaps twelve. There must be twenty of them. Although they appear to be laughing or singing, they make no sound, yet their joy is evident in their exuberant flight, as they soar and swoop and dance in midair.

They do not belong here now that they are freed, and they don’t linger, but quickly fade, vanishing in flight, until only the most recently imprisoned two remain.

Crispin drops the hammer and reaches out to this last pair. For only a moment, they settle upon the palm of his hand. They are his sweet sister and his beloved brother, as ever they looked, only so much smaller.

The dog stands on his hind feet, forepaws against the model plinth, eager to see.

This Mirabell and this Harley in Crispin’s hand have no weight, yet they are the heaviest thing he has ever held.

They should not linger, nor should he want to detain them. He says only, “I love you.”

The pair rise from his upturned palm, and by the grace of their flight and by a sudden golden glow just before they vanish, they seem to return to him the love that he expressed.

Things are still crashing far down in Theron Hall, and the model is trembling and tweaking.

Snatching up the hammer, Crispin hurries around to the front of the model, where the last of the three cats is still on the window seat, peering hopefully out.

After a hesitation, he taps the hammer against one of the little windows, cracking through the stiles and muntins, shattering the tiny panes.

If the cat was once a real cat, reduced to the size of a mouse to serve as an avatar, if it was a stand-in for a human soul until the soul could be captured, it is not evil. It was as ruthlessly used as Mirabell and Harley were used.

The three-inch cat leaps through the missing window, into the palm of his hand. He holds it low to allow the dog to inspect it, and Harley approves. Crispin puts the tiny cat in a jacket pocket, certain that in this mysterious world, it will be at some point an important and valued companion.

As ominous rumbling rises far below, Crispin takes a can of lighter fluid from his backpack and a butane match from a pocket of his jeans. He squirts the fluid into the ground-floor drawing room from which the cat escaped and lights the dribbled trail with the match. Flames roar at once through the miniature room and into the ground-floor hallway.

He hammers out a couple of windows on the second floor, floods two more rooms with lighter fluid, and sets them afire.

Intuition tells him that he has no more time, that he shouldn’t even hesitate to retrieve his backpack. He has left his deck of cards and all his money with Amity. He doesn’t need to take from Theron Hall anything he brought to it, except the dog.

He holds fast to the hammer, however, in case he needs a weapon, and Harley precedes him from the room into the third-floor hallway.

Smoke. The burning rooms are on the second and ground floors, but smoke has already found its way to the third, thin gray tendrils weaving through the air like malevolent spirits.

Boy and dog run for the south stairs.

They are three-quarters of the way along the corridor when Mr. Mordred explodes from an open doorway with all the suddenness of a joke snake springing from a can. He tears the hammer out of Crispin’s grasp, throws him against a wall, and swings the weapon he has just confiscated. As Crispin ducks, the struck wall booms above his head.

Nothing about the tutor is amusing now. His face is contorted in hatred, his eyes bloodshot. From him issues a continuous stream of curses and a spray of spittle as he the turns the hammer in his hand and swings with the claw end as the weapon. The smooth back curve of the wicked instrument grazes Crispin’s face. No damage. He dodges and twists, but the next assault is a closer thing, the claw snags his jacket, and the denim rips.

As the house fire alarm starts to shriek, the dog leaps onto Mordred’s back, knocking the hulking man off balance, driving him face-first into the floor.

Crispin snatches up the dropped hammer, the dog does a 180-degree spin on Mordred’s back, and they are off for the south stairs once more.

There’s not the pale fire of the moon at the bottom of the stairwell this time, but real fire, bright as the sun, and smoke churning upward. They can’t go all the way down, only as far as the second floor.

Harley leads along this new corridor, where the fire is toward the farther end. They race down one of the curving front staircases to the foyer, though this route is forbidden to children and staff, not to mention dogs.

As he comes off the bottom step, Crispin hears the shot and in the same instant the bullet ringing off the head of the hammer, which falls from his hand.

In the foyer, wearing a black knit suit and red scarf, Nanny Sayo advances with a pistol in both hands. “Piglet,” she says. “You wouldn’t leave without a kiss for Nanny, would you?”

For the first time ever, the dog growls.

“There’s nothing special about you, piglet. Now you’ll be food for worms, just like your sister and brother.”

“You’ve lost,” he says.

She smiles and moves toward him. “You little fool. I’ve bent a hundred like you and broken a hundred more. I look young, but I am older than Jardena.”

Less than an arm’s length away, she halts.

The fire alarm continues to shrill, and smoke begins to slither down the dual staircases.

Crispin stares into the muzzle of the pistol, but then he meets her eyes, which are as beautiful and as magnetic as ever.

“Food for worms … or not. Your choice. But Nanny has so much to teach you, pretty piglet, and you’ll love learning all of it. You’ll find my lessons quite delicious.”

Although thirteen, the boy feels nine again, and in her thrall. He remembers her warm hand on his bare chest as if the touch occurred only minutes earlier.

“What you saw Nanny doing in front of the altar that night … Oh, my pretty piglet, Nanny would love to do the same to you.”

Her eyes are bottomless wells into which a boy might fall.

He knows he should say something, counter her words, but he remains mute. And trembles.

“But before Nanny can be for you what you need her to be, she has to know she can trust you. Come here, sweetie. Prove to Nanny that you love her. Come here and put your mouth around the barrel of the gun.”

Before he can take a step toward her, if indeed he will, the fire-sprinkler system goes off, and a hard rain falls into the foyer as elsewhere in the house.

Startled, Nanny Sayo takes a step backward, swings the pistol to the left, and then to the right.

Swift-moving water. The cascades in the park behind which he has sometimes taken shelter. A rushing stream. Now this indoor rain. This is a dispensation that Nature in its mercy bestows on him and the dog, invisibility to this woman and all her kind.

He and the dog go to the front door, which he opens.

Moving warily, seeking him in the wrong part of the foyer, a sodden Nanny Sayo fires a round, trusting to luck, and then squeezes off one more that comes nowhere near him.

He says, “Mirabell and Harley live,” and she swivels, shooting out one of the sidelights flanking the door.

Another portion of the underpinnings of the house collapses with a boom. The walls shudder and the chandelier sways.

Nanny Sayo totters as the foyer shifts under her.

When Crispin steps outside with Harley, into what will soon be a blizzard if a wind rises, he closes the door, turns away, and hears what might be the foyer floor collapsing into the basement.

Strangely—or perhaps not so strangely—he and the dog are dry, untouched by the sprinkler-system rain.

Across the street, through the heavy snow, the Pendleton at the moment looks less like a great mansion than like a work of primitive architecture such as Stonehenge but much larger, or like a place the Aztecs might have built in which to offer up the freshly taken hearts of virgins. In fact, although the city below is so modern, a home for many high-tech companies, Crispin can almost see another city through the veil of glamour, a huddled place that is ancient and dangerous and full of stone idols to gods with inhuman faces.

He is grateful for the masking snow.

He and Harley follow Shadow Street down Shadow Hill, staying on the sidewalk. Fire trucks will soon roar up the eastbound lanes.

The snowflakes are smaller than the silver-dollar variety with which the storm began, but still large, lacy dime-size hieroglyphics full of meaning but whirling past too fast to read.

A faint meow reminds Crispin, and he looks down to see the tiny cat, his avatar, the claws of its forepaws hooked over the edge of his jacket pocket, its small head poked out. The cat regards the snow with what seems to be wonder.

Briefly the descending flakes appear to stutter, as if they are a special effect produced by a machine that has lost its current for a second, but then they continue falling as smoothly and gracefully as ever. Crispin suspects that at the instant of the stutter, someone in Broderick’s turned on the artificial snow that will spiral down all day on the model of the store that stands at the center of the toy department. From time to time, things in this world fall out of harmony, and there is a need to synchronize.

19

They buy a used car with cash. He is too young to drive, but at sixteen—looking eighteen—she is just old enough. Her driver’s license is a forgery, but she’s pretty good behind a wheel, anyway.

No longer alone, she gives up the security of Broderick’s for the wonderful uncertainty of the world beyond. Neither of them has any reason to stay in this city, where their families were taken from them.

They don’t know where they’re going, but they both know without doubt that there is somewhere they need to be.

With their dog and cat, they leave on Christmas morning, which seems an ideal time to start the world anew.

By virtue of her great suffering, she is his sister, and by virtue of his great suffering, he is her brother. They are not yet adults, but neither are they children anymore. A hard-won wisdom has settled upon them and with it that quality with which true wisdom is always twined—humility.

Later, in open land, with evergreen forests rising up slopes to the north of the highway and descending to pristine lowlands in the south, he puts into words for her the most important thing that they have learned or perhaps ever will.

The true nature of the world is veiled, and if you shine a bright light on it, you can’t expose that truth; it melts away with the shadows in which it was cloaked. The truth is too awesome for us to stare directly at it, and we are meant to glimpse it only at the periphery of our vision. If the landscape of your mind is too dark with fear or doubt or anger, you are blind to all truth. But if your mental landscape is too bright with certitude and arrogance, you are snow-blind and likewise unable to see what lies before you. Only the moonlit mind allows wonder, and it is in the thrall of wonder that you can see the intricate weave of the world of which you are but one thread, one fantastic and essential thread.

Terror lives on Shadow Street.

Discover the evil that lies behind the doors of the Pendleton, in Dean Koontz’s forthcoming novel, 77 Shadow Street.

Keep reading for an excerpt.

1

The North Elevator

BITTER AND DRUNK, EARL BLANDON, A FORMER United States Senator, got home at 2:15 A.M. that Thursday with a new tattoo: a two-word obscenity in blue block letters between the knuckles of the middle finger of his right hand. Earlier in the night, at a cocktail lounge, he thrust that stiff digit at another customer who didn’t speak English and who was visiting from some third-world backwater where the meaning of the offending gesture evidently wasn’t known in spite of countless Hollywood films in which numerous cinema idols had flashed it. In fact, the ignorant foreigner seemed to mistake the raised finger for some kind of friendly hello and reacted by nodding repeatedly and smiling. Earl was frustrated directly out of the cocktail lounge and into a nearby tattoo parlor, where he resisted the advice of the needle artist and, at the age of fifty-eight, acquired his first body decoration.

When Earl strode through the front entrance of the exclusive Pendleton into the lobby, the night concierge, Norman Fixxer, greeted him by name. Norman sat on a stool behind the reception counter to the left, a book open in front of him, looking like a ventriloquist’s dummy: eyes wide and blue and glassy, pronounced marionette lines like scars in his face, head cocked at an odd angle. In a tailored black suit and a crisp white shirt and a black bow tie, with a fussily arranged white pocket handkerchief blossoming from the breast pocket of his coat, Norman was overdressed by the standards of the two other concierges who worked the earlier shifts.

Earl Blandon didn’t like Norman. He didn’t trust him. The concierge tried too hard. He was excessively polite. Earl didn’t trust polite people who tried too hard. They always proved to be hiding something. Sometimes they hid the fact that they were FBI agents, pretending instead to be lobbyists with a suitcase full of cash and a deep respect for the power of a senator. Earl didn’t suspect that Norman Fixxer was an FBI agent in disguise, but the concierge was for damn sure something more than what he pretended to be.

Earl acknowledged Norman’s greeting with only a scowl. He wanted to raise his newly lettered middle finger, but he restrained himself. Offending a concierge was a bad idea. Your mail might go missing. The suit you expected back from the dry cleaner by Wednesday evening might be delivered to your apartment a week later. With food stains. Although flashing the finger at Norman would be satisfying, a full apology would require doubling the usual Christmas gratuity.

Consequently, Earl scowled across the marble-floored lobby, his embellished finger curled tightly into his fist. He went through the inner door that Norman buzzed open for him and into the communal hallway, where he turned left and, licking his lips at the prospect of a nightcap, proceeded to the north elevator.

His third-floor apartment was at the top of the building. He did not have a city view, only windows on the courtyard, and eight other apartments shared that level, but his unit was sufficiently well-positioned to justify calling it his penthouse, especially because it was in the prestigious Pendleton. Earl once owned a five-acre estate with a seventeen-room manor house. He liquidated it and other assets to pay the ruinous fees of the blood-sucking, snake-hearted, lying-bastard, may-they-all-rot-in-hell defense attorneys.

As the elevator doors slid shut and the car began to rise, Earl surveyed the hand-painted mural that covered the walls above the white wainscoting and extended across the ceiling: bluebirds soaring joyously through a sky in which the clouds were golden with sunlight. Sometimes, like now, the beauty of the scene and the joy of the birds seemed forced, aggravatingly insistent, so that Earl wanted to get a can of spray paint and obliterate the entire panorama.

He might have vandalized it if there hadn’t been security cameras in the hallways and in the elevator. But the homeowners’ association would only restore it and make him pay for the work. Large sums of money no longer came to him in suitcases, in valises, in fat manila envelopes, in grocery bags, in doughnut-shop boxes, or taped to the bodies of high-priced call girls who arrived naked under leather trench coats. These days, this former senator so frequently felt the urge to deface so many things that he needed to strive mightily to control himself lest he vandalize his way into the poorhouse.

He closed his eyes to shut out the schmaltzy scene of sun-washed bluebirds. When the air temperature abruptly dropped perhaps twenty degrees in an instant, as the car passed the second floor, Earl’s eyes startled open, and he turned in bewilderment when he saw that the mural no longer surrounded him. The security camera was missing. The white wainscoting had vanished, too. No inlaid marble underfoot. In the stainless-steel ceiling, circles of opaque material shed blue light. The walls, doors, and floor were all brushed stainless steel.

Before Earl Blandon’s martini-marinated brain could fully absorb and accept the elevator’s transformation, the car stopped ascending—and plummeted. His stomach seemed to rise, then to sink. He stumbled sideways, clutched the handrail, and managed to remain on his feet.

The car didn’t shudder or sway. No thrumming of hoist cables. No clatter of counterweights. No friction hum of rollers whisking along greased guide rails. With express-elevator speed, the steel box raced smoothly, quietly down.

Previously, the car-station panel—B, 1, 2, 3—had been part of the controls to the right of the doors. It still was there, but now the numbers began at 3, descended to 2 and 1 and B, followed by a new 1 through 30. He would have been confused even if he’d been sober. As the indicator light climbed—7, 8, 9—the car dropped. He couldn’t be mistaking upward momentum for descent. The floor seemed to be falling out from under him. Besides, the Pendleton had just four levels, only three above ground. The floors represented on this panel must be subterranean, all below the basement.

But that made no sense. The Pendleton had one basement, a single underground level, not thirty or thirty-one.

So this could not be the Pendleton anymore. Which made even less sense. No sense at all.

Maybe he had passed out. A vodka nightmare.

No dream could be this vivid, this intensely physical. His heart thundered. His pulse throbbed in his temples. Acid reflux burned his throat, and when he swallowed hard to force down the bitter flood, the effort brought tears that blurred his vision.

He blotted the tears with a suit-coat sleeve. He blinked at the indicator board: 13, 14, 15.…

Panicked by a sudden intuitive conviction that he was being conveyed to a place as terrifying as it was mysterious, Earl let go of the handrail. He crossed the car and scanned the backlit control board for an EMERGENCY STOP button.

None existed.

As the car passed 23, Earl jammed a thumb hard against the button for 26, but the elevator didn’t stop, didn’t even slow until it passed 29. Then, rapidly yet smoothly, momentum fell. With a faint liquid hiss like hydraulic fluid being compressed in a cylinder, the car came to a full stop, apparently thirty floors under the city.

Sobered by a supernatural fear—fear of what, he could not say—Earl Blandon shrank away from the doors. With a thud, he backed into the rear wall of the car.

In his storied past, as a member of the Senate Armed Services Committee, he had once been to a meeting in the bunker far beneath the White House, where the president might one day try to ride out a nuclear holocaust. That deep redoubt was bright and clean, yet it impressed him as more ominous than any graveyard at night. He had some experience of cemeteries from his earliest days as a state lawmaker, when he had thought that in such lonely places, from earth and graves and dust, no one could be raised up to witness the paying of a bribe. This quiet elevator felt far more ominous than even the presidential bunker.

He waited for the doors to open. And waited.

Throughout his life, he’d never been a fearful man. Instead, he inspired fear in others. He was surprised that he could be so suddenly and completely terrorized. But he understood what reduced him to this pathetic condition: evidence of something otherworldly.

A strict materialist, Earl believed only in what he could see, touch, taste, smell, and hear. He trusted nothing but himself, and he needed no one. He believed in the power of his mind, in his singular cunning, to bend any situation to his benefit.

In the presence of the uncanny, he was without defense.

Shudders passed through him with such violence that it seemed he should hear his bones knocking together. He tried to make fists, but proved to be so weak with dread that he could not clench his hands. He raised them from his sides, looked at them, willing them to close into tight knuckled weapons.

He was sober enough now to realize that the two words tattooed on the middle finger of his right hand could have made his insult no clearer to the clueless third-world patron in the cocktail lounge. The guy probably couldn’t read English any more than he could speak it.

As close to a negative self-judgment as he had ever come, Earl Blandon muttered, “Idiot.”

As the car doors slid open, his enlarged prostate seemed to clench as his fists would not. He came perilously close to peeing in his pants.

Beyond the open doors lay only a darkness so perfect that it seemed to be an abyss, vast and perhaps bottomless, into which the blue light of the elevator could not penetrate. In this icy silence of the tomb, Earl Blandon stood motionless, deaf now even to the pounding in his chest, as if his heart were suddenly dry of blood. This was the quiet at the limit of the world, where no air existed to be breathed, where time ended. It was the most terrible thing he had ever heard—until a more alarming sound, that of something approaching, arose from the blackness beyond the open doors.

Ticking, scraping, muffled rustling: This was either the blind but persistent questing of something large and strange beyond the power of the senator’s imagination … or a horde of smaller but no less mysterious creatures, an eager swarm. A shrill keening, almost electronic in nature yet unmistakably a voice, quivered through the blackness, a cry that might have been of hunger or desire, or blood-letting frenzy, but certainly a cry of urgent need.

As panic trumped Earl’s paralyzing dread, he bolted to the control panel, scanning it for a CLOSE DOOR button. Every elevator offered such a feature. Except this one. There was neither a CLOSE DOOR nor an OPEN DOOR button, neither one labeled EMERGENCY STOP nor one marked ALARM, neither a telephone nor a service intercom, only the numbers, as if this were an elevator that never malfunctioned or required service.

In his peripheral vision, he saw something loom in the open doorway. When he turned to face it directly, he thought the sight would stop his heart, but such an easy end was not his fate.

2

The Basement Security Room

HAVING BEEN SHOT FIVE TIMES WHEN RESPONDING to a domestic-disturbance call, having almost died in the ambulance, having almost died on the operating table, having subsequently contracted a vicious case of viral pneumonia and almost died while recuperating in the hospital, Devon Murphy had quit the police force two years earlier. Although he’d once been a patrol officer, the real deal, he wasn’t in the least embarrassed to spend the rest of his career as a security guard, as what some of his former brothers in blue would call a rent-a-cop or a Barney. Devon didn’t have a macho problem. He didn’t need to prove his toughness. He was only twenty-nine, and he wanted to live, and his chances of living were greatly increased by being a Barney in the Pendleton rather than a target for every thug and crackpot on the city streets.

On the west side of the basement, the security center occupied a room between the superintendent’s apartment and the big heating-cooling plant. The windowless space, eighteen feet by thirty-six feet, felt cozy but not claustrophobic. A microwave, a coffeemaker, a refrigerator, and a sink provided most of the comforts of home.

The khaki uniform was kind of dorky, and all that saved Devon from looking like a janitor was a gun belt, from which were suspended a Mace holder containing a small canister of Sabre pepper spray, a cell-phone holder, work keys, a small LED flashlight, and a swivel holster containing a Springfield Armory XDM chambered for .45 ACP. In a luxury condominium like the Pendleton, the likelihood that he’d have to use the pistol was hardly higher than the probability that he’d be abducted by extraterrestrials on his way home from work.

Primarily, he was required to cycle through the twenty-four security cameras in the building. And on a random schedule, twice a shift, he got some fresh air by patrolling the basement, the ground floor, and the courtyard, a beat that took fifteen minutes to cover.

Six wall-mounted plasma screens each presented four security-camera views in a quartered format. With a touch-screen Crestron control, Devon could instantly select any one of the cameras for a full-screen display if he saw something suspicious, which he never did. 77 Shadow Street was the most peaceful address in the city.

Both nice people and jerks lived in the Pendleton, but the homeowners’ association treated employees well. Devon was provided with a comfortable Henry Miller office chair. The refrigerator was stocked with bottled water, fresh cream, various flavors of coffee, and all of the fixings for whatever brew might be the favorite of the guard on duty.

He was drinking a Jamaican-Colombian blend with a dash of cinnamon when a breet-breet signal alerted him that someone had opened the lobby door to enter from the street. He looked to the appropriate plasma display, summoned the lobby camera to full screen, and saw Senator Earl Blandon come in from the December night.

Blandon was one of the jerks. He belonged in jail, but he bought his freedom by loading up on attorneys in five-thousand-dollar suits. No doubt he had also threatened to take half his political party down with him if they didn’t put their hands up the backsides of their puppet prosecutors and puppet judges to ensure that the Muppet show called justice would follow the plot he preferred.

Police work had made Devon somewhat cynical.

With Blandon’s thick white hair and Roman-coin face, he still looked like a senator, and he seemed to think that appearance alone should continue to command the respect that he had received before he disgraced his office. He was curt, dismissive, arrogant, and in need of having his ear hair trimmed, a detail that fascinated Devon, who was meticulous about his personal grooming.

Blandon had sopped up so much sauce over the years that he was inoculated against visible displays of inebriation; he no longer revealed his drunkenness with slurred speech or with an unsteady gait. Instead of staggering when he was loaded, he walked taller and threw his shoulders back farther and raised his chin more imperially than when he was sober. The telltales of his nitrification were faultless posture and an almost flamboyant poise.

Norman Fixxer, the night concierge, released the lock on the inner lobby door. A breet-breet signal issued from the security-station door monitor.

Although Blandon belonged in prison instead of in an ultra-luxury condominium, he was nevertheless an apartment owner. Like any resident, he expected to have his privacy even in the public spaces of the Pendleton. Devon Murphy never followed residents by camera, along hallways and into elevators, except for the ex-senator, who could be singularly entertaining.

Once, having passed through the lobby and reached the ground-floor corridor, he had been too soused to maintain his deceptively regal posture and had dropped to all fours, crawling to the north elevator—and out of it on the third floor. On another post-midnight return, he strode confidently past the elevator, turned the corner into the north wing, seemed suddenly to become disoriented, opened the door to the concierge’s office, evidently mistook it for a bathroom, and urinated on the floor.

That office was now kept locked when not in use.

On this occasion, Blandon found the elevator easily enough, and he boarded it with an air of dignity worthy of a king climbing into his royal carriage. As the doors closed, and after he pressed the button for the third floor, he glanced up once at the security camera in the car, and then he looked around at the bird-and-cloud mural with an expression of pure contempt.

The ex-senator had written two lengthy letters to the homeowners’ association, criticizing the mural with what he must have assumed was the erudition of a knowledgeable art connoisseur. The group, which included at least one genuine art connoisseur, instead found the letters to be contemptible, confrontational, and alarming. The security staff had not been bluntly told to observe Earl Blandon in the elevator when he returned home inebriated, against the possibility that he might deface the mural, but the suggestion had been made indirectly.

Now, as the elevator passed the second floor, something unprecedented happened. An expression of disgust came over the senator’s face, as if the mural filled him with revulsion, and he closed his eyes … and swirling currents of blue static, like nothing Devon had seen before, suddenly flushed the image from the screen. The five other screens, quartered into twenty camera shots, also succumbed to the static, and the security system went blind.

Simultaneously, Devon heard low tympanic beats, hollow and strange and barely audible extended notes. Through the soles of his shoes, he felt vibrations in the concrete floor, subtle waves resonating in time with the drumming.

He didn’t become alarmed, because the door and window monitors remained operative, and all the indicator lights were green on the board. No one was forcing entrance at any point. If the sound had grown louder and the accompanying vibrations had accelerated, Devon’s puzzlement and concern might have swelled into apprehension.

The phenomenon continued at a consistent level, however, and after about half a minute, the low drumming faded, the last of the vibrations passed through the floor, and the blue static receded from the plasma screens. The many security-camera points of view returned.

The elevator camera had a wide-angle lens and was mounted near the ceiling at a rear corner of the car, providing coverage of the entire interior, including the doors—which were closed. Earl Blandon was gone. Apparently the car had arrived at the third floor, and the ex-senator had disembarked.

Devon switched to the camera covering the short length of public corridor serving apartments 3-A and 3-C, and then to the camera that provided a view of the entire long north-wing hallway on the third floor. No Earl Blandon. His was the first apartment in that wing, 3-D, overlooking the courtyard. He must have stepped out of the elevator, turned the corner, and let himself through his front door during the time that the video surveillance failed.

Devon cycled through all twenty-four cameras. Without exception, the public spaces were deserted. The Pendleton remained quiet and still. Evidently, above the basement, the sullen drumming and the vibrations had been so faint that, if anyone had been awakened, no one had been concerned enough to step out of his apartment and have a look around.

3

The Basement Pool

WHETHER UPON ARISING AT FOUR O’CLOCK in the morning, as now, or after work, Bailey Hawks preferred to swim laps with only the underwater lights, the rest of the long room dark, the pool a great glowing jewel, bright watery reflections fluttering like diaphanous wings across the white ceramic-tile walls and ceiling. The pleasantly warm pool, the astringent scent of chlorine, the slish-slish of his limbs parting the water, the gentle swash of wavelets lapping at the pale-blue tiles … The tense expectation that preceded a trading day and the mental fatigue that followed one were sluiced from him when he swam.

He got out of bed before dawn to exercise, have breakfast, and be at his desk when the markets opened, but rising early was not the cause of the exhaustion that he felt by every Friday evening. A day spent investing other people’s money could sometimes leave him as weary as any day of combat when he’d been a marine. At thirty-eight, he was in his sixth year as an independent wealth manager, after having worked for a major investment bank for three years following his military career. During his first year at the bank, he’d thought that eventually, as success built his confidence, he would be less oppressed by the responsibility to protect and grow his clients’ assets. But the burden never became lighter. Money could be a kind of freedom. If he lost a portion of someone’s investments, he would be throwing away a measure of that client’s liberty.

When Bailey was a boy, his mother called him “my guardian.” His failure to protect her was an embedded thorn, perpetually working its way through his mind all these years later, too deep to pluck out. He could atone, if at all, only by reliable service to others.

At the end of his fifth lap, he touched bottom with his feet and turned to face the farther end of the long rectangle of shimmering water, where he had entered by the submerged steps. The pool was five feet deep, and Bailey stood six two, so when he leaned back against the coping to rest before doing another five laps, the water rose not quite to his shoulders.

He smoothed his wet hair back from his face—and saw a dark form coming toward him underwater. He hadn’t been aware of anyone entering the pool after him. The rippled surface spun the quivering light and wavelet shadows into purling patterns that severely distorted the approaching figure. When you were submerged, the greater resistance made progress harder than doing laps on the surface, but this swimmer bored through the water as if he were a torpedo. The exertion needed to make such headway should have forced the man to breach for air before he could complete a hundred-foot lap, but he appeared to be as fully at home underwater as would be any fish.

For the first time since his days in the Marine Corps, Bailey sensed mortal and imminent danger. Wasting not an instant second-guessing his instinct, he turned, pressed his palms flat atop the coping, and levered himself out of the pool, onto his knees. Behind him, someone seized his left ankle. He would have been pulled back into the water if he hadn’t kicked furiously with his right foot and struck what seemed to be his assailant’s face.

Released, Bailey scrambled to his feet, staggered two steps on the matte-finish tile, and turned, suddenly breathless, overcome by the irrational fear that he was in the presence of something inhuman, one mythical monster or another that was not merely mythical anymore. Nothing confronted him.

The underwater lamps were not as bright as they had been. In fact, the quality of the light had changed from crisp white to a sullen yellow. The blue water-line tile appeared green in this sour glow.

The dark shape moved under the surface, sleek, swift, streaking toward the steps. Bailey hurried along the apron, trying to get a better look at the swimmer. Now acid-yellow, the pool appeared to be polluted, clear in some places but cloudy in others. Discerning details of the person—or thing—in the water proved difficult. He thought he could make out legs, arms, a basic human form, yet the overall impression was of something deeply strange.

For one thing, the swimmer didn’t frog kick, which was almost essential for making way underwater without swim fins, and he wasn’t using a breaststroke, either. He appeared to undulate with the muscular sinuosity of a shark, propelling himself in a way no human being could.

If Bailey had been more prudent than curious, he would have snared his thick terry-cloth robe from the hook on which it hung, slipped into it and into his flip-flops, and hurried to the nearby security room in the north wing of the basement. Devon Murphy would be on duty there. But Bailey was transfixed by the eerie nature of the swimmer, by the otherworldly mood that settled on the room.

The building shuddered ever so slightly. A low rumble rose from the earth under the Pendleton’s foundation, and Bailey glanced at the floor in front of him, half expecting to see hairline cracks opening in the mortar joints between the tiles, though none did.

With the brief shaking, the light in the pool changed again, from the pustulant shade of disease-darkened urine to red. Short of the steps, the swimmer turned with the serpentine ease of an eel, heading back toward the end of the pool from which Bailey had fled.

Where clear, the water was the color of cranberry juice. Where clouded as if from disturbed silt, it resembled blood, and that vile stain now spread more rapidly through the pool.

The fluttering watery reflections on the glossy white tiles of the walls and ceiling morphed into tongues of faux fire. The long room grew dimmer, murkier, and shadows swelled like billowing smoke.

Nearing the farther end of the lap pool, the swimmer became harder to see, although still visible in the fouled water. No man could have swum three lengths so quickly without once needing to surface for a breath.

The shuddering lasted five or six seconds, and half a minute after it subsided and after the building grew silent, the pool lamps phased from red to yellow to white again. The faux fire licking along the glossy walls became dancing wings of light as before, and the room brightened. The cloudy water turned crystalline once more. The mysterious swimmer had vanished.

Bailey Hawks stood with his hands fisted at his sides, dripping into the puddle in which he stood. His heart knocked with less force than it might have when he was under enemy fire, back in the day, but nevertheless hard enough for him to hear it hammering.

ABOUT THE AUTHOR

DEAN KOONTZ, the author of many #1 New York Times bestsellers, lives in Southern California with his wife, Gerda, their golden retriever, Anna, and the enduring spirit of their golden, Trixie.

www.deankoontz.com

Correspondence for the author should be addressed to:

Dean Koontz
P.O. Box 9529
Newport Beach, California 92658