Whispers (54 page)

Tony woke an hour before it was time to get up. He woke with a start, began to sit up in bed, realized where he was, and eased back down to the pillow. He lay on his back, in the dark, staring at the shadowy ceiling, listening to Hilary's rhythmic breathing.

He had bolted from sleep to escape a nightmare. It was a brutal, grisly dream filled with mortuaries and tombs and graves and coffins, a dream that was somber and heavy and dark with death. Knives. Bullets. Blood. Worms coming out of the walls and wriggling from the staring eyes of corpses. Walking dead men who spoke of crocodiles. In the dream, Tony's life had been threatened half a dozen times, but on each occasion, Hilary had stepped between him and the killer, and every time she had died for him.

It was a damned disturbing dream.

He was afraid of losing her. He loved her. He loved her more than he could ever tell her. He was an articulate man, and he was not the least bit reluctant to express his emotions, but he simply did not have the words to properly describe the depth and quality of his feeling for her. He didn't think such words existed; all of the ones he knew were crude, leaden, hopelessly inadequate. If she were taken from him, life would go on, of course--but not easily, not happily, not without a great deal of pain and grief.

He stared at the dark ceiling and told himself that the dream had not been anything to worry about. It had not been an omen. It had not been a prophecy. It was only a dream. Just a bad dream. Nothing more than a dream.

In the distance, a train whistle blew two long blasts. It was a cold, lonely, mournful sound that made him pull the covers up to his chin.

***

Bruno decided that Katherine might be waiting for him in the house that Leo had built.

He left his own house and crossed the vineyards. He took the knife and flashlight with him.

In the first pale light of dawn, while most of the sky was still blue-black, while the valley lay in the fading penumbra of the night, he went to the clifftop house. He did not go up by way of the cable car because, in order to board it, he would have to go into the winery and climb to the second floor, where the lower tramway station occupied a corner of the building. He dared not be seen in there, for he figured the place was now crawling with Katherine's spies. He wanted to sneak up on the house, and the only route by which he could do that was the stairs on the face of the cliff.

He started climbing rapidly, two steps at a time, but before he went very far, he discovered that caution was essential. The staircase was crumbling. It had not been kept in good repair, as the tramway had been. Decades of rain and wind and summer heat had leeched away much of the mortar that bound the old structure together. Small stones, pieces of virtually every one of the three hundred and twenty steps, broke off under his feet and clattered to the base of the cliff. Several times, he almost lost his balance, almost fell backwards, or almost pitched sideways into space. The safety railing was decayed, dilapidated, missing whole sections; it would not save him if he stumbled against it. But slowly, cautiously, he followed the switchback path of the staircase, and in time he reached the top of the cliff.

He crossed the lawn, which had gone to weeds. Dozens of rose bushes, once carefully tended and manicured, had sent thorny tentacles in all directions and now sprawled in tangled, flowerless heaps.

Bruno let himself into the rambling Victorian mansion and searched the musty, dust-filmed, spider-webbed rooms which stank of mildew that thrived on the drapes and carpets. The house was crammed full of antique furniture and art glass and statuary and many other things, but it did not hold anything sinister. The woman was not here, either.

He didn't know whether that was good or bad. On the one hand, she hadn't moved in, hadn't taken over in his absence. That was good. He was relieved about that. But on the other hand--where the hell was she?

His confusion was rapidly getting worse. His powers of reasoning began to fail him hours ago, but now he couldn't trust his five senses, either. Sometimes he thought he heard voices, and he pursued them through the house, only to realize it was his own mumbling that he heard. Sometimes the mildew didn't smell like mildew at all, but like his mother's favorite perfume; but then a moment later it smelled like mildew again. And when he looked at familiar paintings that had hung on these walls since his childhood, he was unable to perceive what they were depicting; the shapes and colors would not resolve themselves, and his eyes were baffled by even the most simple pictures. He stood before one painting that he knew to be a landscape with trees and wildflowers, but he was not able to see those objects in it; he could only remember that they were there; all he saw now were smears, disjointed lines, blobs, meaningless forms.

He tried not to panic. He told himself that his bizarre confusion and disorientation were merely the results of his not having slept all night. He'd driven a long way in a short time, and he was understandably weary. His eyes were heavy, gritty, red and burning. He ached all over. His neck was stiff. All he needed was sleep. When he woke, he would be clear-headed. That was what he told himself. That was what he had to believe.

Because he had searched the house from bottom to top, he was now in the finished attic, the big room with the sloped ceiling, where he had spent so much of his life. In the chalky glow of his flashlight, he could see the bed in which he had slept during the years he'd lived in the mansion.

Himself was already on the bed. Himself was lying down, eyes closed, as if sleeping. Of course, the eyes were sewn shut. And the white nightgown was not a nightgown; it was a burial gown that Avril Tannerton had put on him. Because himself was dead. The bitch had stabbed and killed him. Himself had been stone-cold dead since last week.

Bruno was too enervated to vent his grief and rage. He went to the king-size bed and stretched out on his half of it, beside himself.

Himself stank. It was a pungent, chemical smell.

The bedclothes around himself were stained and damp with dark fluids that were slowly leaking out of the body.

Bruno didn't care about the mess. His side of the bed was dry. And although himself was dead and would never speak again or laugh again, Bruno felt good just being near himself.

Bruno reached out and touched himself. He touched the cold, hard, rigid hand and held it.

Some of the painful loneliness abated.

Bruno did not feel whole, of course. He would never feel whole again, for half of him was dead. But lying there beside his corpse, he did not feel all alone either.

Leaving the flashlight on to dispel the darkness in the shuttered attic bedroom, Bruno fell asleep.

***

Dr. Nicholas Rudge's office was on the twentieth floor of a skyscraper in the heart of San Francisco. Apparently, Hilary thought, the architect either had never heard of the unpleasant term "earthquake country," or he had made a very good deal with the devil. One wall of Rudge's office was glass from floor to ceiling, divided into three enormous panels by only two narrow, vertical, steel struts; beyond the window lay the terraced city, the bay, the magnificent Golden Gate Bridge, and the lingering tendrils of last night's fog. A quickening Pacific wind was tearing the gray clouds to tatters, and blue sky was becoming more dominant by the minute. The view was spectacular.

At the far end of the big room from the window-wall, six comfortable chairs were arranged around a circular teak coffee table. Obviously, group therapy sessions were held in that corner. Hilary, Tony, Joshua, and the doctor sat down there.

Rudge was an affable man with the ability to make you feel as if you were the most interesting and charming individual he had encountered in ages. He was as bald as all the clichés (a billiard ball, a baby's bottom, an eagle), but he had a neatly trimmed beard and mustache. He wore a three-piece suit with a tie and display handkerchief that matched, but there was nothing of the banker or of the dandy in his appearance. He looked distinguished, reliable, yet as relaxed as if he'd been wearing tennis whites.

Joshua summed up the evidence that the doctor had said he would need to hear, and he delivered a short lecture (which seemed to entertain Rudge) about a psychiatrist's obligation to protect society from a patient who appeared to have homicidal tendencies. In a quarter of an hour, Rudge heard enough to be convinced that a claim of doctor-patient privilege was neither wise nor justified in this case. He was willing to open the Frye file to them.

"Although I must admit," Rudge said, "if only one of you had come in here with this incredible story, I'd have put very little credence in it. I'd have thought you were in need of my professional services."

"We've considered the possibility that all three of us are out of our minds," Joshua said.

"And rejected it," Tony said.

"Well, if you are unbalanced," Rudge said, "then you'd better make it 'the four of us' because you've made a believer out of me, too."

During the past eighteen months (Rudge explained), he had seen Frye eighteen times in private, fifty-minute sessions. After the first appointment, when he realized the patient was deeply disturbed about something, he encouraged Frye to come in at least once every week, for he believed that the problem was too serious to respond to once-a-month sessions. But Frye had resisted the idea of more frequent treatments.

"As I told you on the phone," Rudge said, "Mr. Frye was torn between two desires. He wanted my help. He wanted to get to the root of his problem. But at the same time, he was afraid of revealing things to me--and afraid of what he might learn about himself."

"What was his problem?" Tony asked.

"Well, of course, the problem itself--the psychological knot that was causing his anxiety and tension and stress--was hidden in his subconscious mind. That's why he needed me. Eventually, we'd have been able to uncover that knot, and we might even have untied it, if the therapy had been successful. But we never got that far. So I can't tell you what was wrong with him because I don't really know. But I think what you're actually asking me is--what brought Frye to me in the first place? What made him realize that he needed help?"

"Yes," Hilary said. "At least that's a place to start. What were his symptoms?"

"The most disturbing thing, at least from Mr. Frye's point of view, was a recurring nightmare that terrified him."

A tape recorder stood on the circular coffee table, and two piles of cassettes lay beside it, fourteen in one pile, four in the other. Rudge leaned forward in his chair and picked up one of the four.

"All of my consultations are recorded and stored in a safe," the doctor said. "These are tapes of Mr. Frye's sessions. Last night, after I spoke with Mr. Rhinehart on the phone, I listened to portions of these recordings to see if I could find a few representative selections. I had a hunch you might convince me to open the file, and I thought it might be better if you could hear Bruno Frye's complaints in his own voice."

"Excellent," Joshua said.

"This first one is from the very first session," Dr. Rudge said. "For the first forty minutes, Frye would say almost nothing at all. It was very strange. He seemed outwardly calm and self-possessed, but I saw that he was frightened and trying to conceal his true feelings. He was afraid to talk to me. He almost got up and left. But I kept working at him gently, very gently. In the last ten minutes, he told me what he'd come to see me about, but even then it was like pulling teeth to get it out of him. Here's part of it."

Rudge pushed the cassette into the recorder and snapped on the machine.

When Hilary heard the familiar, deep, gravelly voice, she felt a chill race down her spine.

Frye spoke first:

"I have this trouble."

"What sort of trouble?"

"At night."

"Yes?"

"Every night."

"You mean you have trouble sleeping?"

"That's part of it."

"Can you be more specific?"

"I have this dream."

"What sort of dream?"

"A nightmare."

"The same one every night?"

"Yes."

"How long has this been going on?"

"As long as I can remember."

"A year? Two years?"

"No, no. Much longer than that."

"Five Years? Ten?"

"At least thirty. Maybe longer."

"You've been having the same bad dream every night for at least thirty years?"

"That's right."

"Surely not every night."

"Yes. There's never a reprieve."

"What's this dream about?"

"I don't know."

"Don't hold back."

"I'm not."

"You want to tell me."

"Yes."

"That's why you're here. So tell me."

"I want to. But I just don't know what the dream is."

"How can you have had it every night for thirty years or more and not know what it's about?"

"I wake up screaming. I always know a dream woke me. But I'm never able to remember it."

"Then how do you know it's always the same dream?"

"I just know."

"That's not good enough."

"Good enough for what?"

"Good enough to convince me that it's always the same dream. If you're so sure it's just one recurring nightmare, then you must have better reasons than that for thinking so."

"If I tell you ..."

"Yes?"

"You'll think I'm crazy."

"I never use the word 'crazy.'"

"You don't?"

"No."

"Well... every time the dream wakes me, I feel as if there's something crawling on me."

"What is it?"

"I don't know. I can never remember. But I feel as if something's trying to crawl in my nose and in my mouth. Something disgusting. It's trying to get into me. It pushes at the corners of my eyes, trying to make me open my eyes. I feel it moving under my clothes. It's in my hair. It's everywhere. Crawling, creeping..."

In Nicholas Rudge's office, everyone was watching the tape recorder.

Frye's voice was still gravelly, but there was raw terror in it now.