But now there are other pages in the ledger. Names of people who shamed me in other ways, like arrogant Professor Gaitenburg at Western Reserve, who mocked me during my orals, or Dr. Wendell Greer, the gynecologist, who tried to feel me up on his examination table. Ruth Kendricks, Geraldine Pearson, Pat Tinder and Walter Kinsolving, Rachel Spargo, Linda Nash, Richard Duggan and Violet Kraus. Oh, Mama, I could give you a list a hundred names long. There were so many of them, so very many, and there's not nearly enough time left in this life to take care of them all.
It must have been something in my eyes that set her off, the way I looked at Jessica. Maybe she identifies Jessica with her sister whom she loved and killed. "I had to kill her to save her from Granny," she told me once, back at Carlisle. Or maybe she identifies me with Granny, the ogress who ruled her life. Whatever weird connections she's made, the damage now is done. Poor Tool is bewildered, angry, hurt. But she's just going to have to control herself. Mama was right. Once a tool starts getting a mind of its own, things can go bad very fast.
The fight takes place in a small all-white room on the third floor above the do' Jo, a room rese rved for private contests among the sensei's students. Afternoon light, pouring in through the high windows that face upper Broadway, makes the hard bleached oak floor shine.
The room is empty except for the two young female combatants, one blond and tall, the other black-haired and short. Dressed in gi jackets and pants, breathing heavily, they stand several feet apart in postures of confrontation, faces creased with rage and pain. An aura of aggression edged with danger envelops them. A faint aroma of perspiration perfumes the air.
Both women know this room well. they have fought matches here many times. It was here, too, that, giggling, they stripped to the waist several months before and amicably dueled with sabers with only a borrowed Polaroid camera to witness their carefully orchestrated contest.
Their fight today is different. A new element, a clear intent on the part of the shorter combatant to hurt and seriously vanquish the taller, has become evident only moments before. Now the two young women, chests heaving from their last contact, appraise each other. The stare of the short one, Diana, is hard and cold; the stare of the taller, Jess, is injured and perplexed. Then, like rival warriors about to engage in a final clash, their eyes meet and lock.
"I think we should stop awhile, cool down," Jess suggests. But she does not relax her fighting stance.
Diana shakes her head.
"You really want to go for it then?"
Diana gives her answer, a rush attack.
The women collide, brutally punch and kick at each other. Grunts of effort and sharp cries of pain resound off the walls. The smell of sweat turns pungent as, for a full twenty seconds, they stand close, in nearly intimate contact, raining and blocking blows. Flesh is bruised. Blood spurts. Knuckles become raw and bum. Finally, exhausted from the struggle, the two fall back to try to control their labored breathing, each trying hard, too, not to show how badly she's been hurt. Finally Jess speaks: "This isn't sport, you know."
Diana squints. "For me it is."
"If we continue like this, one of us'll be killed."
"That's what a real fight's about," Diana replies.
Still in her fighting stance, Diana suddenly reaches up and pulls at her hair. A moment later she casts a wig down upon the floor, then grins as she reveals her closely shaven skull.
Jess stares at Diana, trying to decipher the meaning of this gesture.
Now she sees something in her opponent's icy blue eyes, a murderous look, savage, almost feral, that she never noticed before, even though the two had been friends for months. Suddenly Jess makes a decision. Turning her back on Diana, she strides across the room, opens the door, and exits without a word.
Diana, relaxing her stance, smiles knowingly. to leave a fight, turn one's back on an opponent wit tout ma ing the obligatory bow, is to deliver an unpardonable insult. And it will not be pardoned, she thinks.
My mistake, Mama, was to forget how passionate she could be. Her deeply submissive attachment made me forget that this was a girl who killed her mother, grandmother, and sister with an ax, then split all three of their bodies straight up from the crotch. That she might be jealous if I gave special attention to a patient-well, I should have thought of that and taken steps. But things got out of hand. I remember your words: "If a tool goes into business for itself, you gotta think about getting rid of it."
And that, sadly, Mama, is what I may have to do.
It is 8:00 P.m. A chilly evening in New York. Diana's nostrils quiver as they catch the smell of rotted leaves, a late-autumn smell rising from the dark, wet parkland below. Cold rain fell in the afternoon; now there are puddles on Riverside Drive.
Diana, jogging downtown, does not avoid these puddles. Rather, she runs straight through them. At this hour the drive is nearly deserted. On either side, graceful streetlamps bum sulfurous in the night.
Across the dark canopy of wet bushes and trees Diana catches sight of the Hudson River, its surface gleaming black like roiling oil. Beside the river, streams of cars, headlights streaking, speed along the West Side Highway.
Diana cannot hear these cars; they are too far away. All she can hear is the steady pat-pat-pat of her feet upon the wet pavement and a light buzzing sound inside her brain. Her quarry, unaware she is being tracked, also jogs, but two hundred feet ahead and a hundred feet below amidst the trees. Every so often Diana catches sight of her, a tall, thin light-haired woman dressed in a dark track suit, loping along a path that winds and turns through the narrow park. Diana is on a collision course with this woman. The point of intersection is a mile ahead. She feels an excitement different in quality from what she felt when carrying out missions for Doctor. This time it is her own enemy she is after, an opponent she knows well from numerous encounters.
She also knows that this quarry is most likely armed, a fact that enhances the thrill of the hunt. Diana intends to strike first, hard and fast from behind. The battle should be over before it is even joined. That is the method she was taught.
Although it is cold, Diana is lightly dressed. She wears a thin black long-sleeved T-shirt and black nylon running shorts. She also wears a nylon waist sack loaded with paraphernalia for her kill: her weapon, an ice pick, which she will strap on to her forearm when she is ready; a caulking gun filled with glue to mark and desecrate her victim; and a shriveled flower plucked earlier from Doctor's garden, which she will leave as her signature beside a little wall she discovered near the killing site.
She has calculated everything. Only a half mile now to the place she carefully picked out. She increases her speed from a jogger's pace to a fast flat-out run. She bears right at the fork where the sidewalk that borders the drive meets a paved path that descends into the park. Once among the trees, she pulls out her weapon and fits it into the sheath strapped to her arm. She is now on an intersecting vector with her quarry, whom she sees clearly jogging a hundred yards ahead.
What luck! Jess is wearing a Walkman; she will not be able to hear Diana's steps. Diana looks around; no one else is on the path. She and Jess are alone in this narrow strip of park. Ahead, the great illuminated tower of Riverside Church soars into the night sky. Beyond a faint glow is cast by the city's lights.
A light rain begins to fall. Diana shivers slightly but runs on.
She notices that Jess has begun to pick up her pace. Diana speeds up even more. Pat-pat-pat go her feet. She feels her heartheat quicken as her ears find the sound of Jess's steps. Pit-pat pit-pat pit-pat. Jess is but a hundred feet ahead. Impossible now to stop. The rhythm is set. The momentum of attack is carrying her along. Diana pulls her pick from its sheath, holds it underhand as she swings her an-ns. Fifty feet now. Thirty. Twentyfive.
Jess is almost within her reach. In a burst of speed Diana overtakes her. And then, in a single violent motion, she raises her right arm and with full force plunges the pick sideways so that it enters Jess's brain directly
through the ear.
Jess, stabbed, falls upon the path, and as she does, the buzzing inside Diana's head suddenly stops. Feeling hot, feverish with victory, Diana grabs hold of Jess's feet and drags her body into the thick, wet brush on the right. She pulls her through the fallen leaves to within a few feet of the ruined wall, then lets go of her, stands back, and stares down at her face.
At one time Jess was her friend, but when she, too, became Doctor's patient, Diana's liking of her turned to hate. Now that hate is purged. Her rival is but dead meat on the ground. Diana kneels to untie the string that secures Jess's sweatpants, then pulls them down to the girl's ankles. She grins when she sees the switchblade knife strapped against Jess's side. An opponent's weapon-what a fine trophy that will make!
As Diana uncaps her caulking gun and sets to work with the glue, her only regret is that now that her onetime friend is dead, she will never be able to give back the archery set she borrowed the week before.
She's down there in the basement now, brooding over her unauthorized kill. All right, you made her into a killing machine, so you've got to expect a certain amount of carryover. She's human after all. But to leave the wallflower signature and use the glue, methods reserved for your tormentors-that was crazy, that means she's out of control.
She can't even explain why she did it. A fit of jealousy? But it was Tool who got Jessica to come see you in the first place. Tool recruited her. She was Jessica's friend. She knew what therapy was. What did she expect? That you'd treat Jessica differently? That you wouldn't take her into your office and listen to her for an hour three times a week?
No, it had to be something more. This past autumn, when Jessica asked for the name of her shrink, Tool was quick to send her on.
Remember the way she beamed when she told you to expect the call?
What about their actual relationship? How much do you really know?
Could they have been more than gym buddies? Could they have been lovers?
Be rational about this; don't let the stress generate fantasies. The truth is you still don't know what they did all those times they went off together after martial arts class. Come to think of it, isn't it strange Jessica never mentioned Tool except the first time she called? "Diana Proctor gave me your name. We take a martial arts class together on the West Side. I'm looking for a good therapist.
I'd like to come in and talk about it if that's all right." Yes, of course, it was "all right." You were extremely interested in treating someone who looked so much like Cynthia Morse. And this girl was so much nicer without any evident cruel streak. She was a decent, direct sort of person, but with Cindy's great looks, smile, and appeal.
So what were you after with her anyway? Looking to seduce her?
Don't be absurd! Those days are long gone, and anyway, the girl was young enough to be your daughter. But admit it, she attracted you.
She was just your type. And just about the same age as Cindy was then, before she turned on you and earned herself a place in the ledger.
No, there's got to be more to this than meets the eye. Tool and Jessica must have had some kind of emotional connection that, when it snapped, generated rage in Tool and set her off.
Remember the little encounter at the knife show? Running into Jessica with Tool in tow didn't strike you as being all that important at the time. But suppose Jessica, seeing her shrink unexpectedly in the company of another patient who happened to be her friend, got curious, decided to trail you for a while, and then saw something she didn't like.
Wait a minute! Remember the famous "English girl" she met in Italy, the one who fenced topless with her? The truth is you've had only her word on that. You never saw the photographs, didn't even know about them until Janek brought them up. Why didn't she tell you about them? Could she have been afraid you'd ask to see them? She couldn't allow that because if she did, you'd recognize the other girl.
Suppose the alleged "English girl" was a subterfuge? Suppose Jessica didn't want to tell you she'd actually played the topless fencing scene with Diana? If that's true, then they definitely amp;d have something going, perhaps not overtly sexual, but certainly sexualized. And if that's the case, then there was enough unresolved energy to unleash Tool and cause her to explode.
But go back a moment, think about that knife show. What could Jessica have seen you and Tool do that might cause her to mention to a friend that she was thinking of quitting therapy?
You might have spoken harshly to Tool or petted her. You do that unconsciously sometimes, out of some twisted matemalism no doubt. If you'd had your wits about you, you'd never have gone to that damn knife show in the first place. It was Tool's idea. She said she wasn't enjoying using crude store-bought ice picks all the time, she wanted a fine weapon, something she wouldn't have to leave behind, something really sharp with a ritualistic flavor to it, and since there was a knife show in town, would you attend it with her, take a look, see if anything caught your eye?
So there it is, Tool set the whole thing up. She knew Jessica would attend the show, probably even knew which day. She enticed you into taking her there because she wanted Jessica to see her with you, and she probably did something there that you didn't even notice, like taking your arm, squeezing it-anything to provoke Jessica and force her out of therapy.
This is terrible! It means Tool's been using you! It means you've lost control of her, created a Frankenstein's monster just as Mama said.
Calm down! Look at the implications. Janek's got the photographs. If Tool was the other fencer and he should see her entering the basement apartment, he'll recognize her at once. He already suspects you. He's not all that great at hiding what he feels. Or, more likely, he's deliberately letting his suspicions show in the hope you'll get spooked and tip your hand.
The main thing now is to keep Janek from seeing Tool.
But there's something even more important, which is to get to the bottom of Tool and Jessica's relationship. Tool has to tell you whether she was the "English girl." Once you're certain about that, you can take the necessary countermeasures.
So the thing to do is get Tool up here in front of Mama. Mama always intimidates her. If you can get her up here naked in front of Mama, Mama'll make her talk.
It is night. The scene is a shadowy and cavernous bedchamber dimly lit with soft reddish light. At one end a large four-poster oak bed stands free of the walls. At the other, three female figures are arranged in frozen postures as if posing for a tableau vivant. From the expressions on the faces of these players, a spectator might well feel that a question hangs upon the air. But not one of the figures moves or speaks. The question, if there was one, remains unanswered.
The first figure, young, muscular, firm-fleshed, stands at stiff attention. She is naked, her head and body totally shaved, a fine gloss of perspiration coating her like a dew. The soft red light that paints her exposed skin emphasizes the blush generated from within.
Her eyes, too, are red, as if from weeping.
The second figure, older, shorter, plump, sits opposite the first in a high-backed chair. She is dressed in a too-tight strapless crimson gown which can barely contain her bodice. Her eyes are narrowed as she stares with cold reproach at the younger woman's face. But the younger woman does not return the seated woman I s gaze.
Rather, her eyes engage the eyes of a third woman, actually a painted image hanging on the wall just above the seated woman's chair. This woman, the one in the picture, wears the same crimson gown as the live woman below, but the garment suits her better. While the breasts of the seated woman are constricted by her gown, the bosoms of the painted woman fill hers perfectly. There is a cunous resemblance between the seated woman and the painted one that must haunt a spectator. It is as if each one's face, in a completely different way, is a caricature of the other's.
But perhaps what would seem most strange would be the powerful force field of emotions that appears to exist among these players. A spectator would know that the three are bound to on
e another in some inexorable and yet tragic way, bound so tightly and forcefully that anything outside their triangle, any person or event, would have no meaning to them at all.
"She says she did it because Jessica wouldn't return her bow! What do you think, Mama? Hours of punitive bracing and she comes up with that."
"The bow we gave-"
"Right, Mama, the bow we presented to her when she came back from commando school in Colorado. Rememher, she was first in her class out there, and we thought she ought to be rewarded for doing so well, especially as most of the other students were males. Besides, she'd told us her martial arts instructor had suggested she take up archery to hone her concentration. So we mailordered an excellent target bow and set of arrows and laid them out for her on the bed so she'd see them first thing when she reported in after her trip."
"But wasn't there another connection?"
"Of course, Mama! Do you think I'm such a bad analyst I didn't understand what was going on?"
"Gosh, Bev, you're touchy today. I don't think you're a bad analyst at all."
"Forgive me, Mama. I thought you were implying that I wasn't aware of the play on words. Because, of course, I was. Diana wanted a bow so she could play archer, or should I say 'Archer'? She liked being the patient but also wanted to play at being Doctor or at least try out the authority role for a while. If she had a bow in her hands, she'd be a kind of Archer, with real potency, too, as a bow can be an extremely powerful weapon."
"You were always a wonderful analyst, Bev. You have your deficiencies. Who doesn't? But you've always been good at your job."
"What deficiencies?" "Oh, please, let's not get into that."
"I think we should get into it. I've known for some time you've found me deficient. Now's as good a time as any to clear the air.
I'm waiting, Mama. Tell me where you find me wanting. I can take your criticism. God knows, I've taken it all my life."
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