by Dean Koontz
As if sensing her lady’s doubt, Melody said, “Your true home is a kingdom bright with magic, which you have long suspected.”
With that declaration, the woman raised one arm and pointed to the ceiling with her index finger, as if calling down some power from on high.
Every drawer in the dresser, the highboy, and the nightstands flew open as far as they might without crashing onto the floor, and the book about Drumblezorn levitated off the window seat three feet, four, five. When the woman closed her raised hand into a fist, every drawer slid shut—thump, thump, thump, thump, thump!—and the book flew across the room, slammed into a wall, and fell to the floor.
Electrified, Naomi shot to her feet.
Rising also, Melody said, “In a month or slightly more, m’lady, the circumstances in the kingdom will be ripe for your return, all your enemies destroyed, the way made safe. I’ve come today only so that you will be prepared when I appear again on the night that we must travel. At that time, your memory will be restored, and it will be most essential then that you do as I, your servant, request.”
In all the years that she fantasized about a moment of revealed destiny like this, Naomi had imagined a thousand times a thousand clever responses to such a messenger, but she had never expected to be speechless. She heard herself speaking disconnected syllables that might have been the start of words, and then she managed to stammer full words but couldn’t put them in coherent sentences. Feeling not at all like a m’lady but very much like a pathetic eight-year-old half-pint booby, she finally said, “Does do Zach Minnie know, like you told me, does you did you tell them, and my parents?”
Melody dropped her voice to a whisper. “No, m’lady. You are the supreme heir to the kingdom, and only you need to be prepared ahead. It would be too dangerous for all of you to know until the very last assassins of the Apocalypse are rendered powerless. This must be your secret, and you must guard it well until the night I return, or else you and everyone you love might die.”
“Chestnuts!” Naomi declared.
Pointing to the windows, Melody said, “Regard the tree, m’lady. Regard the tree.”
As Naomi turned toward the windows, the wind from nowhere burst into the calm day again and shook the great oak as if to shatter it and cast its broken limbs against the house. Stripped from branches, flocks of scarlet leaves flew against the windows, with a sound like wings beating frantically against the panes. The exhibition was scary but, oh, so beautiful as well: sunlight and shadow playing on the glass, trembling multitudes like crimson butterflies.
As the wind abruptly died, Naomi remembered Melody and turned to her, but the woman was gone. Evidently she had departed by way of the wind and the tree, whatever that meant.
The door to the second-floor hallway stood slightly ajar. Naomi couldn’t recall if she had left it that way, but she didn’t think so.
She ran out of the guest bedroom, glanced left, right, and found the hallway deserted. She listened for rapid footsteps on the front or back stairs, but she heard none.
In the guest room once more, she hurried to the book that had levitated and flown. She snatched it off the carpet. She dashed to the window seat and knelt on the cushions to watch the last leaf in the glorious multitude settle toward the lawn. Pressing her forehead to a cold pane of glass, straining for a glimpse of Melody dwindling through the branches toward some magical realm or an impossible door closing in the trunk of the oak, she saw nothing more than a big beautiful old tree readying itself for winter.
Her heart raced and she thought it might never stop racing. She was exhilarated although confused, delighted but frightened, totally convinced yet riddled with disbelief, amazed, astonished, eager but wary, impetuous, cautious, buoyant but sad as well, as close to crazy as she had ever been.
Naomi couldn’t imagine how she could keep such a secret for one week, let alone for more than a month, for one day, let alone one whole week. On the other hand, she knew in her heart she was a protagonist, not an antagonist, not the secondary female lead who might or might not go over to the dark side, who might lack the perspicacity to do the right thing. She was the true lead, the right stuff, a veritable Joan of Arc who could be mentored by dragons but never-ever defeated by them. Perhaps she should have her hair cut in a pageboy, like Joan of Arc was sometimes depicted, or maybe even shorter and a little shaggy, like Amelia Earhart, the vanished aviatrix. So much to think about, so many possibilities to consider. Pig fat!
Earlier, Melody Lane drives from the Nash house to the Calvino residence in her Honda, aware that she is possessed, with a full understanding of the nature of her rider. She offers no resistance. She has no fear. Even more than Reese Salsetto, Melody welcomes her rider. She is delighted by the possibilities of cooperation with it, pleased to have the benefits of its protection and its power.
When she was twenty-four, Melody killed her three children—ages four, three, and one—after deciding that motherhood is limiting and boring, and after she learned that humanity is a vile planet-killing plague that Earth can’t survive. She saw it on TV. A documentary about the end of the world and about how it is unavoidable. We all have a responsibility. As each brat died, Melody kissed it, inhaling its final exhalation, which symbolized that she was participating in the salvation of the planet by eliminating the CO2 breathers who were polluting it every time they exhaled. The planet is a living thing. We are lice on the planet.
She murdered her louse, Ned, her husband, and made it appear to be suicide. She saw it on the Internet: lots of ways you can make a homicide appear to be a suicide. Her attempt to stage the children’s murders as Ned’s work deceived the finest crime-scene investigators with all their high-tech devices and scientific wizardry. Not such a bunch of smarties, after all. Her alibi proved ironclad.
This success has enhanced Melody’s self-esteem. Self-esteem is the most important thing. You can’t make the life you deserve if you don’t have enough self-esteem.
Too long, she believed that she was ordinary, unimaginative, not very bright, something of a schlump, as colorless as dishwater. But then she gets away with four murders, and she is doing something socially useful, even important, at the same time. She realizes that, after all, she is interesting, just like Dr. Phil and so many other famous TV hosts have been for so long telling her she is.
Over the past four years, she has murdered three other children, in two different towns. She wishes she could have disposed of dozens, but she is cautious when selecting her targets. The oil companies need new generations to exploit, and if they ever discover she is eliminating their future customer base, they will be ruthless.
All her life, Melody has been ignored by everyone but Ned. And Ned was a bully. He liked her only because she could never stand up for herself and always just hung her head and let him curse her and heap abuse on her—until the night she didn’t. They say you are what you eat, and Ned ate a lot of ham and pork and bacon. Now she knows that she is as interesting as most people and more interesting than many, with her secret life.
They say that the meek will inherit the earth, but if that’s true, by the time the inheritance is paid, it won’t be worth spit, the earth will be used up, burnt out, like Mars. On TV they have all these dance competitions, talent competitions, chef competitions, designer competitions, and no matter what kind of competition it is, the meek never win. The prize always goes to the most aggressive, to the most confident, to the person who has the most self-esteem. Melody has noticed.
She parks in front of the Calvino residence, walks boldly to the door, and lets herself inside, using the key she got from Preston Nash. She has no fear of discovery. Her rider knows where everyone is in the house at all times, and it will guide her through these halls and rooms without an encounter that might compromise her mission.
With a brief conjured windstorm provided by her rider, she makes a dramatic appearance before Naomi Calvino. The rider knows the girl to her core, but Melody knows how to talk to the girl. She has a
lways been able to talk to children at their level, to charm them, to tell stories in ways that enthrall them, to make them laugh. This seemed like a worthless talent until she started killing children to save the world, whereupon it facilitated gaining the trust of her prey. Each of her own children giggled in delight when she started to kill it, certain that this was just another of her fun games. Well, it was fun, but not for them. They are the plague. She is the antibiotic. We all have a responsibility.
After she finishes the job with the Calvino girl, Melody leaves the second floor by the front stairs, as quiet as a wraith. As she puts her hand on the knob of the front door, the rider departs her to remain with the house.
Melody Lane is aware that the rider will summon her to return, no doubt more than once. She will come when called and will welcome its renewed presence in her blood and bones. When the time to kill arrives, she hopes that Naomi will be hers and that she will be able to suck the dying breath from the girl’s mouth.
Meanwhile, the rider has given her several tasks to perform. She must acquire and then make ready certain items, and she understands precisely how to prepare them. Melody doesn’t need to be ridden in order to do her master’s bidding. For the pleasure of participating in its slaughter of the Calvinos, especially the ruination of the children, she intends to serve it of her own free will.
Minnie had just gotten a bottle of juice from the refrigerator and was twisting off the cap when she turned toward the French door between the kitchen and the terrace—and saw the golden retriever peering in at her from outside.
Willard had been dead for two years, but she still remembered exactly what he looked like. This was Willard, all right, or rather it was Willard’s spirit, just like those ghosts at the convenience store except that half of Willard’s face wasn’t shot off.
He was beautiful, like he had been in life, the best dog ever. Minnie’s heart swelled—it actually felt as if it were swelling like a balloon in her chest—at the sight of him. She could feel her heart ballooning all the way up into her throat.
But then she realized that Willard hadn’t come back from Heaven to play or to wring tears from her, but to show her something. He was pawing at the glass, not making any noise, but pawing at it anyway. His tail wasn’t wagging, as it would be if he wanted to chase a ball or beg for a treat. And the expression in his eyes, in the lift of his upper lip on the left side, meant what it had meant back in the good old days when he was alive: I’m trying to tell you a thing here. It’s so obvious even a cat would get it. Will you please, please, please pay attention?
Minnie put her juice on the kitchen island and hurried to the door. Willard scampered away as she approached, and when she pushed through the door and stepped onto the patio, the dog was waiting for her on the north lawn.
Willard’s forelegs were splayed, his head thrust forward and slightly down, in that partial play bow that meant Chase me, chase me! You can try, but you can’t catch me! I’m a dog, I’m faster than the wind!
She ran toward him, and he sprinted out of sight along the north side of the house, toward the street. When she turned the corner, she saw him standing on the front yard, looking back at her.
As she raced toward Willard, the retriever faded: first red-gold and beautiful, then gold and beautiful, then white and beautiful, then semitransparent and still beautiful, but then gone. Minnie felt her heart swelling again, and she just wanted to drop to her knees and cry. But she kept going until she stood on the very grass where Willard had last been visible.
On the public sidewalk, as though she had just stepped off the flagstone front walk that led from the porch, a woman in a long gray dress moved toward a car at the curb. She looked like she had come to talk someone’s ears off about Jesus, but she didn’t have magazines or pamphlets, or even a purse. Apparently she heard Minnie running to the spot on the lawn where Willard vanished, because she stopped and turned to face her.
They were only about twelve or fifteen feet apart. Minnie could clearly see the woman’s face. It was pleasant enough but seemed not quite done, as if it lacked the final details that would allow you to remember it ten minutes later, a face like one of those in Mom’s paintings that was still a stage away from being finished. The woman was smiling sort of absentmindedly, as though she saw Minnie but was thinking about something else and didn’t want to be distracted from that.
They stared at each other maybe fifteen seconds, an eerily long time without saying anything. Minnie didn’t know why the woman kept staring at her, but she kept staring at the woman because she sensed something not right about her. Minnie kept thinking she was going to figure it out, figure out the not-right something, but it eluded her.
Finally the woman said, “I like your pink shoes.”
This statement baffled Minnie for a moment, because she didn’t own any pink shoes. If anyone ever gave her pink shoes, she wouldn’t even risk saying, I’ll wear them when Hell freezes over, because you never knew what to expect of the weather. She didn’t want to be a marine, like Zach, but unlike Naomi, she didn’t swoon about wearing tiaras and diamond-studded capes and pink glass slippers for the rest of her life.
Belatedly registering the stranger’s meaning, Minnie looked down at her feet, at her sneakers, which were deep coral, not pink at all. She realized the woman must be color challenged.
“You remind me of a little girl I used to have,” the woman said. “She was very sweet.”
Minnie was taught never to be rude, and being polite included speaking when spoken to. But in this case, she kept silent. For one thing, she didn’t know what to say. More important, she sensed that speaking to this woman would be a mistake for the same reason that speaking to a spirit was a bad idea: Just responding with a single word would be an invitation.
The stranger didn’t appear to be a spirit, but she had something in common with spirits that Minnie sensed but couldn’t quite name.
After another, shorter silence, the woman in gray took a step toward Minnie, but then halted.
Although they were in a public place, Minnie began to feel alone and dangerously isolated. No traffic passed in the nearby street. No pedestrians were in sight. No kids were at play on any of the front lawns. The sky was pale, the air still, the trees limp, so it seemed as if time had stopped for everyone in the world except the two of them.
Minnie wished Willard hadn’t done a fade. She wished he would reappear, not just to her but also to the woman. When alive, the dog had a totally phony but threatening growl, and his spirit still had big teeth even if it couldn’t bite anyone.
The woman’s dreamy smile, which had been nice enough, now seemed like the fixed smile of a snake, which wasn’t a smile at all but only the shape of a smile.
Just when Minnie was about to spin away and run for all she was worth, the woman turned from her and went to the car at the curb. She glanced back as she got into the vehicle, but then she pulled the door shut and drove away.
As she watched the car dwindle along the street, Minnie finally realized what the woman in gray had in common with ghosts. Death. They were both about death.
From the journal of Alton Turner Blackwood:
After spending the night disinterring skeletons from unmarked graves in the pine-circled clearing, the boy returned to his tower room before dawn and spent the morning and the afternoon brooding about his discoveries.
An hour before twilight, when he was still expected to remain discreet and to refrain from inflicting his unappealing presence on either the family or the estate staff, he went to the guest house. In half of this very comfortable residence, he once lived with his mother, Anita, where now his mother’s sister, Regina, resided alone with her daughter, Melissa.
The boy went with no intention of committing violence. He wanted only to learn the truth. But if necessary, he would use terror and pain to extract the truth from them.
In killing the rabbits and the deer, he had learned there was pleasure to be had in ripping the life from pretty t
hings.
Aunt Regina and Cousin Melissa were sitting at a table on their back patio, in the shade of a mammoth maidenhair tree, playing cards. They were annoyed but not apprehensive when the boy suddenly loomed over them.
Some on the house staff were disturbed by his malformed face and his misproportioned body, were even afraid of him though he had harmed no human being to that point. Regina, however, had never shown the slightest fear of him, nor had Melissa except when she was very young. Fourteen now, the girl regarded him with the distaste and the contempt that she learned from her mother.
Having killed animals, having been acknowledged by a mountain lion as Death personified, he saw things through a new and clearer lens. As a boy more naive than he was now, he had thought that Regina and Melissa were smug, fearless, and uncongenial because they were beautiful. He thought beauty was not only their power but also their armor, that if you were as beautiful as they were, then you respected and feared nothing because you were privileged by natural right and were indestructible. Now he realized that their superior airs, their contempt, and their fearlessness were based also on secret knowledge, on something they knew that he did not know. He was an outsider at Crown Hill not just because of his grotesque appearance but also because of his ignorance.
When he told Regina that he had excavated his mother’s skeleton from an unmarked grave, he expected her to express shock or grief or anger that her sister had come to such a fate. Instead she remained seated at her card game, unimpressed with his grisly news. She told him that he had been a stupid boy, that he would regret digging like a dog for a bone.
Realizing that the truth concealed from him was even bigger than he might have imagined, he expected that he would have to choke it or cut it or beat it from Regina. But though she kept him standing, she did not deny him the truth as she denied him a chair. She spelled it out for him with a cold, acidic glee, and the longer she spoke, the more the boy realized that she was insane.
