Valerie. Smiling.
That soft-voiced woman with whom Spencer had talked last night at The Red Door had seemed gentle and honest, less capable of deceit than were most people. First thing, she had looked boldly at his scar and had asked about it, not with pity welling in her eyes, not with an edge of morbid curiosity in her voice, but in the same way that she might have asked where he'd bought the shirt he'd been wearing. Most people studied the scar surreptitiously and managed to speak of it, if at all, only when they realized that he was aware of their intense curiosity. Valerie's frankness had been refreshing. When he'd told her only that he'd been in an accident when he was a child, Valerie had sensed that he either didn't want or wasn't able to talk about it, and she had dropped the subject as if it mattered no more than his hairstyle. Thereafter, he never caught her gaze straying to the pallid brand on his face; more important, he never had the feeling that she was struggling not to look. She found other things about him more interesting than that pale welt from ear to chin.
Valerie. In black and white.
He could not believe that this woman was capable of committing a major crime, and certainly not one so heinous that a SWAT team would come after her in utmost silence, with submachine guns and every high-tech advantage.
She might be traveling with someone dangerous.
Spencer doubted that. He reviewed the few clues: one set of dinnerware, one drinking glass, one set of stainless steel flatware, an air mattress adequate for one but too small for two.
Yet the possibility remained: She might not be alone, and the person with her might rate the extreme caution of the SWAT team.
The photo, printed from the computer screen, was too dark to do her justice. Spencer directed the laser printer to produce another, just a shade lighter than the first.
That printout was better, and he asked for five more copies.
Until he held her likeness in his hands, Spencer had not been consciously aware that he was going to follow Valerie Keene wherever she had gone, find her, and help her. Regardless of what she might have done, even if she was guilty of a crime, regardless of the cost to himself, whether or not she could ever care for him, Spencer was going to stand with this woman against whatever darkness she faced.
As he realized the deeper implications of the commitment that he was making, a chill of wonder shivered him, for until that moment he had thought of himself as a thoroughly modern man who believed in no one and nothing, neither in God Almighty nor in himself.
Softly, touched by awe and unable fully to understand his own motivations, he said, "I'll be damned."
The dog sneezed.
FOUR
By the time the Beatles were singing "I'll Cry Instead," Roy Miro detected a cooling in the dead woman's hand that began to seep into his own flesh.
He let go of her and put on his gloves. He wiped her hands with one comer of the top sheet to smear any oils from his own skin that might have left the patterns of his fingertips.
Filled with conflicting emotions—grief at the death of a good woman, joy at her release from a world of pain and disappointment—he went downstairs to the kitchen. He wanted to be in a position to hear the automatic garage door when Penelope's husband came home.
A few spots of blood had congealed on the tile floor. Roy used paper towels and a spray bottle of Fantastik, which he found in the cabinet under the kitchen sink, to clean away the mess.
After he wiped up the dirty prints of his galoshes as well, he noticed that the stainless steel sink wasn't as well kept as it could have been, and he scrubbed until it was spotless.
The window in the microwave was smeared. It sparkled when he was done with it.
By the time the Beatles were halfway through "I'll Be Back" and Roy had wiped down the front of the Sub-Zero refrigerator, the garage door rumbled upward. He threw the used paper towels into the trash compactor, put away the Fantastik, and retrieved the Beretta that he had left on the counter after delivering Penelope from her suffering.
The kitchen and garage were separated only by a small laundry room. He turned to that closed door.
The rumble of the car engine echoed off the garage walls as Sam Bettonfield drove inside. The engine cut off. The big door clattered and creaked as it rolled down behind the car.
Home from the accountant wars at last. Weary of working late, crunching numbers. Weary of paying high office rents in Century City, trying to stay afloat in a system that valued money more than people.
In the garage, a car door slammed.
Burned out from the stress of life in a city that was riddled with injustice and at war with itself, Sam would be looking forward to a drink, a kiss from Penelope, a late dinner, perhaps an hour of television. Those simple pleasures and eight hours of restful sleep constituted the poor man's only respite from his greedy and demanding clients—and his sleep was likely to be tormented by bad dreams.
Roy had something better to offer. Blessed escape.
The sound of a key in the lock between the garage and the house, the clack of the deadbolt, a door opening: Sam entered the laundry.
Roy raised the Beretta as the inner door opened.
Wearing a raincoat, carrying a briefcase, Sam stepped into the kitchen. He was a balding man with quick dark eyes. He looked startled but sounded at ease. "You must have the wrong house."
Eyes misting with tears, Roy said, "I know what you're going through," and he squeezed off three quick shots.
Sam was not a large man, perhaps fifty pounds heavier than his wife. Nevertheless, getting him upstairs to the bedroom, wrestling him out of his raincoat, pulling off his shoes, and hoisting him into bed was not easy. When the task had been accomplished, Roy felt good about himself because he knew that he had done the right thing by placing Sam and Penelope together and in dignified circumstances.
He pulled the bedclothes over Sam's chest. The top sheet was trimmed with cut-work lace to match the pillow shams, so the dead couple appeared to be dressed in fancy surplices of the sort that angels might wear.
The Beatles had stopped singing a while ago. Outside, the soft and somber sound of the rain was as cold as the city that received it—as relentless as the passage of time and the fading of all light.
Though he had done a caring thing, and though there was joy in the end of these people's suffering, Roy was sad. It was a strangely sweet sadness, and the tears that it wrung from him were cleansing.
Eventually he went downstairs to clean up the few drops of Sam's blood that spotted the kitchen floor. He found the vacuum cleaner in the big closet under the stairs, and he swept away the dirt that he had tracked on the carpet when he'd first come into the house.
In Penelope's purse, he searched for the business card that he had given her. The name on it was phony, but he retrieved it anyway.
Finally, using the telephone in the study, he dialed 911.
When a policewoman answered, Roy said, "It's very sad here. It's very sad. Someone should come right away."
He did not return the handset to the cradle, but put it down on the desk, leaving the line open. The Bettonfields' address should have appeared on a computer screen in front of the policewoman who had answered the call, but Roy didn't want to take a chance that Sam and Penelope might be there for hours or even days before they were found. They were good people and did not deserve the indignity of being discovered stiff, gray, and reeking of decomposition.
He carried his galoshes and shoes to the front door, where he quickly put them on again. He remembered to pick up the lock-release gun from the foyer floor.
He walked through the rain to his car and drove away from there.
According to his watch, the time was twenty minutes past ten. Although it was three hours later on the East Coast, Roy was sure that his contact in Virginia would be waiting.
At the first red traffic light, he popped open the attaché case on the passenger seat. He plugged in the computer, which was still married to the cellular phone; he didn't sepa
rate the devices because he needed both. With a few quick keystrokes, he set up the cellular unit to respond to preprogrammed vocal instructions and to function as a speakerphone, which freed both his hands for driving.
As the traffic light turned green, he crossed the intersection and made the long-distance call by saying, "Please connect," and then reciting the number in Virginia.
After the second ring, the familiar voice of Thomas Summerton came down the line, recognizable by a single word, as smooth and as southern as pecan butter. "Hello?"
Roy said, "May I speak to Jerry, please?"
"Sorry, wrong number." Summerton hung up.
Roy terminated the resultant dial tone by saying: "Please disconnect now."
In ten minutes, Summerton would call back from a secure phone, and they could speak freely without fear of being recorded.
Roy drove past the glitzy shops on Rodeo Drive to Santa Monica Boulevard, and then west into residential streets. Large, expensive houses stood among huge trees, palaces of privilege that he found offensive.
When the phone rang, he didn't reach for the keypad but said, "Please accept call."
The connection was made with an audible click.
"Please scramble now," Roy said.
The computer beeped to indicate that everything he said would be rendered unintelligible to anyone between him and Summerton. As it was transmitted, their speech would be broken into small pieces of sound and rearranged by a randomlike control factor. Both phones were synchronized with the same control factor, so the meaningless streams of transmitted sound would be reassembled into intelligible speech when received.
"I've seen the early report on Santa Monica," Summerton said.
"According to neighbors, she was there this morning. But she must've skipped by the time we set up surveillance this afternoon."
"What tipped her off?"
"I swear she has a sixth sense about us." Roy turned west on Sunset Boulevard, joining the heavy flow of traffic that gilded the wet pavement with headlight beams. "You heard about the man who showed up?"
"And got away."
"We weren't sloppy."
"So he was just lucky?"
"No. Worse than that. He knew what he was doing."
"You saying he's somebody with a history?"
"Yeah."
"Local, state, or federal history?"
"He took out a team member, neat as you please."
"So he's had a few lessons beyond the local level."
Roy turned right off Sunset Boulevard onto a less traveled street, where mansions were hidden behind walls, high hedges, and wind-tossed trees. "If we're able to chase him down, what's our priority with him?"
Summerton considered for a moment before he spoke. "Find out who he is, who he's working for."
"Then detain him?"
"No. Too much is at stake. Make him disappear."
The serpentine streets wound through the wooded hills, among secluded estates, overhung by dripping branches, through blind turn after blind turn.
Roy said, "Does this change our priority with the woman?"
"No. Whack her on sight. Anything else happening at your end?"
Roy thought of Mr. and Mrs. Bettonfield, but he didn't mention them. The extreme kindness he had extended to them had nothing to do with his job, and Summerton would not understand.
Instead, Roy said, "She left something for us."
Summerton said nothing, perhaps because he intuited what the woman had left.
Roy said, "A photo of a cockroach, nailed to the wall."
"Whack her hard," Summerton said, and he hung up.
As Roy followed a long curve under drooping magnolia boughs, past a wrought-iron fence beyond which a replica of Tara stood spotlighted in the rain-swept darkness, he said, "Cease scrambling."
The computer beeped to indicate compliance.
"Please connect," he said, and recited the telephone number that would bring him into Mama's arms.
The video display flickered. When Roy glanced at the screen, he saw the opening question: WHO GOES THERE?
Though the phone would react to vocal commands, Mama would not; therefore, Roy pulled off the narrow road and stopped in a driveway, before a pair of nine-foot-high wrought-iron gates, to type in his responses to the security interrogation. After the transmission of his thumbprint, he was granted access to Mama in Virginia.
From her basic menu, he chose FIELD OFFICES. From that submenu, he chose LOS ANGELES, and he was thereby connected to the largest of Mama's babies on the West Coast.
He went through a few menus in the Los Angeles computer until he arrived at the files of the photo-analysis department. The file that interested him was currently in play, as he knew it would be, and he tapped in to observe.
The screen of his portable computer went to black and white, and then it filled with a photograph of a man's head from the neck up. His face was half turned away from the camera, dappled with shadows, blurred by a curtain of rain.
Roy was disappointed. He had hoped for a clearer picture.
This was dismayingly like an impressionist painting: in general, recognizable; in specific, mysterious.
Earlier in the evening, in Santa Monica, the surveillance team had taken photographs of the stranger who had gone into the bungalow minutes prior to the SWAT team assault. The night, the heavy rain, and the overgrown trees that prevented the streetlamps from casting much light on the sidewalk—all conspired to make it difficult to get a clear look at the man. Furthermore, they had not been expecting him, had thought that he was only an ordinary pedestrian who would pass by, and had been unpleasantly surprised when he'd turned in at the woman's house. Consequently, they had gotten precious few shots, none of quality, and none that revealed the full face of the mystery man, though the camera had been equipped with a telephoto lens.
The best of the photographs already had been scanned into the local-office computer, where it was being processed by an enhancement program. The computer would attempt to identify rain distortion and eliminate it. Then it would gradually lighten all areas of the shot uniformly, until it was able to identify biological structures in the deepest shadows that fell across the face; employing its extensive knowledge of human skull formation—with an enormous catalogue of the variations that occurred between the sexes, among the races, and among age groups—the computer would interpret the structures it glimpsed and develop them on a best-guess basis.
The process was laborious even at the lightning speed with which the program operated. Any photograph could ultimately be broken down into tiny dots of light and shadow called pixels: puzzle pieces that were identically shaped but varied subtly in texture and shading. Every one of the hundreds of thousands of pixels in this photograph had to be analyzed, to decipher not merely what it represented but what its undistorted relationship was to each of the many pixels surrounding it, which meant that the computer had to make hundreds of millions of comparisons and decisions in order to clarify the image.
Even then, there was no guarantee that the face finally rising from the murk would be an entirely accurate depiction of the man who had been photographed. Any analysis of this kind was as much an art—or guesswork—as it was a reliable technological process. Roy had seen instances in which a computer-enhanced portrait was as off the mark as any amateur artist's paint-by-the-numbers canvas of the Arc de Triomphe or of Manhattan at twilight. However, the face that they eventually got from the computer most likely would be so close to the man's true appearance as to be an exact likeness.
Now, as the computer made decisions and adjusted thousands of pixels, the image on the video display rippled from left to right. Still disappointing. Although changes had occurred, their effect was imperceptible. Roy was unable to see how the man's face was any different from what it had been before the adjustment.
For the next several hours, the image on the screen would ripple every six to ten seconds. The cumulative effect could be appreciated only by checki
ng it at widely spaced intervals.
Roy backed out of the driveway, leaving the computer plugged in and the VDT angled toward him.
For a while he chased his headlights up and down hills, around blind turns, searching for a way out of the folded darkness, where the tree-filtered lights of cloistered mansions hinted at mysterious lives of wealth and power beyond his understanding.
From time to time, he glanced at the computer screen. The rippling face. Half averted. Shadowy and strange.
When at last he found Sunset Boulevard again and then the lower streets of Westwood, not far from his hotel, he was relieved to be back among people who were more like himself than those who lived in the monied hills. In the lower lands, the citizens knew suffering and uncertainty; they were people whose lives he could affect for the better, people to whom he could bring a measure of justice and mercy—one way or another.
The face on the computer screen was still that of a phantom, amorphous and possibly malignant. The face of chaos.
The stranger was a man who, like the fugitive woman, stood in the way of order, stability, and justice. He might be evil or merely troubled and confused. In the end, it didn't matter which.
"I'll give you peace," Roy Miro promised, glancing at the slowly mutating face on the video display terminal. "I'll find you and give you peace."
FIVE
While hooves of rain beat across the roof, while the troll-deep voice of the wind grumbled at the windows, and while the dog lay curled and dozing on the adjacent chair, Spencer used his computer expertise to try to build a file on Valerie, Keene.
According to the records of the Department of Motor Vehicles, the driver's license for which she'd applied had been her first, not a renewal, and to get it, she had supplied a Social Security card as proof of identity. The DMV had verified that her name and number were indeed paired in the Social Security Administration's files.
That gave Spencer four indices with which to locate her in other databases where she was likely to appear: name, date of birth, driver's license number, and Social Security number. Learning more about her should be a snap.
Koontz, Dean - Dark Rivers of the Heart Page 7