Back on his feet, he climbs to the top of the nearest dune. Bending over, he swats the sand from his knees. When he straightens, Beth is standing in front of him. 'Jesus!' he cries out, and staggers back. And he is about to shout at her, when she removes her long coat. She looks down her body, her face concealed by her hair. 'When you left the court, we were punished.'
'What?' Dante asks.
'You were told to be patient and not to ask questions.'
'Can you blame me?' he asks, baffled.
Beth makes a little muffled sobbing sound in her hair.
'What's going on, Beth? Tell me.'
'There is another, Dante. He wants to meet you.'
'Who?'
Beth raises her chin and shakes the hair from her face. A creek of tears shines on her cheekbones. She sniffs and then turns around to show him her slender back. She slips a tiny strap of her slip off one shoulder. The silky garment slides down her pale back. There is a shadow under her scapula. Dante moves closer and the shadow becomes a large bruise. He winces. 'Shit.' As his eyes accustom themselves to what thin light the moon transmits, he catches a glimpse of something that resembles a giant black orchid, with a smattering of red petals around it. The evil flower covers half of her back. 'Who did this?' he says, his voice tight. From his bad eye, tears stream hot and sting his face.
'One whom I love,' she replies, a tremble in her voice.
'Eliot?'
When she answers, her tone changes again. It is soft and hushed, as if she is speaking of someone of great importance. 'Pain can be a reward.'
Dante swallows but stays quiet. He has no idea how to react; what she says seems to diminish him. There is nothing in his experience to compare with the seductive horror of her suggestion.
'Are you afraid, Dante? Of offering yourself to something greater than you could ever be alone?'
He wants to say 'you need help', but is afraid of setting her off and making her violent again. She is ill; this is clear to him now. Schizophrenic even. These mood swings explain it all. There are at least two distinct personalities active in her: she switches from this young and vulnerable girl to something sadistic and out of control. And Eliot is responsible. He keeps her and controls her and beats her. He lures impressionable students into his twisted games, and then uses them as playthings. It is all starting to make sense. Maybe he uses narcotics and some kind of suggestion to beguile and then control his victims. It explains the illness. He must have been drugged. No wonder the Hebdomidar tried to warn him, and it is no surprise that Janice reacted so strongly to his association with Eliot. The Hebdomidar mentioned all of this at the Orientation, and he failed to connect the clues because he was so smitten with Beth and in awe of Eliot. But now, the penny has finally dropped and he'll go straight to the police, and he'll take Beth along as proof.
'We thought you were the one for him. But you couldn't understand,' she says, adrift in her own world.
'Shut up, Beth. Cut the crap,' Dante answers, his voice quick. 'I know more than you think. I know what's been going on, and I want you to come somewhere with me. Tonight. I want you to trust me on this.'
Beth glares at him. Her teeth are revealed in another mad grin. 'Do you think Eliot is my master?' She laughs, crazily, at the sky. Dante looks over his shoulder at the silhouette of his Land Rover. 'Beth, you're coming with me. I've had enough of this.'
'Fool,' she mutters behind him, in a deeper tone of voice. He is shocked to hear her speak like this; it contradicts her youth, spoils her beauty, is incongruous, as if her face and body are a façade to conceal something far uglier. 'There are greater ones to serve than broken men, who only now begin to realise what has begun. And you are privileged. Our lord is hungry. He will take you in his arms tonight, and you will truly know him.' She comes for him without a sound, closing the distance between them with one step. Her arms are colder and thinner than ever as she embraces him. Her hands disappear beneath his shirt. Fingernails tear into his back. Dante cries out in pain. He tries to pull himself free, but she smashes her face against his neck. Immediately, her teeth become busy on the soft flesh. With her fingers locked behind his back, close to his spine, she prevents him from pulling his arms free, and when she begins to squeeze him with her bony arms, the breath is forced from him, and then his ribs began to shift and groan. Overwhelmed by her unnatural strength, and a fear of suffocation, he stamps about in the sand, trying to shake her loose. But his desperate staggers only succeed in toppling them to the ground.
As they roll in the sand and wet verdure, he kicks his legs about, and tries to call out, but his squashed and winded torso can produce no sound beside a rasping noise that vibrates in his throat. Blind with panic, he is sure he will pass out.
When her grip suddenly loosens around his chest and he is able to draw some air into his lungs, she begins to lap at the deep abrasions on the skin of his neck. Her tongue is dry as a cat's and she makes a snuffling sound as she suckles his throat. The sound is worse than the pain that preceded it.
And then she breaks away from his throat, moves off his body, and sits crouched down beside him. She stares into the dark nearby.
Unable to move from shock, Dante looks in horror at the lipstick and blood smeared about her mouth and chin, making her look slovenly, like the insane hybrid of a harlot and a clown. 'He comes,' she mutters. Then tilts her head back, with her eyes closed and her dark mouth open. A desperate scream issues from her mouth. It pierces his inner ear and he rolls his head from side to side to ease the pain.
Beth falls silent, and she looks like a young and pretty girl with chocolate around her mouth. 'He's here for you,' she whispers, and then lowers her lips to his forehead. He flinches. She kisses him, tenderly.
Dante peers up at her, still too shocked to speak or react. And too stunned to avoid the hard punches that soon rain against his face from left and right, Beth making soft grunting sounds as she strikes him. And through the blood and confusion that whirl about his head, he hears her knuckles crack.
When the storm of violence concludes, Beth is gone from him, leaving him numb and half-conscious in the sand. Through his concussed haze, he hears the noise of her feet as she runs away, into the night-blackened dunes.
And in the distance, he hears another sound. Faint, but growing. A sound that makes him feel an instant and profound chill. It is like a sail billowing and snapping against the rigging of a ship when struck by a sudden gust of wind far out at sea. But it grows louder as the sound travels through the night at speed, toward where he lies in the dirt. His mind wants to collapse – to flicker out like a candle's flame before a draught. Only some basic instinct for survival motivates him to move his arms and legs. He rises to his hands and knees as his senses collect to deliver a terrible conclusion: she's blooded me, she's prepared me.
The sound is close now. It is all around him, circling just beyond his vision, carried by a frozen wind that skims off the sand. Remembering the sound of old bones flung through St Mary's Court, he clambers to his feet and staggers about on the spot, fighting for balance. The blood deserts his brain and he nearly falls as he stumbles toward the Land Rover.
Beth screams from behind. A scream of anticipation and wild animal excitement.
Dante runs with tears in his eyes. The pain in his chest, from where she squeezed him, makes him move slowly, barely able to stay upright. When he reaches the gravel of the carpark, he notices a movement on his right side. The motion is joined by a faint sound: not footsteps, but a suggestion of something being dragged or dragging itself across the ground. It stays level with him, keeping pace, content to stalk him from a close distance.
Screwing up his eyes, he sees a shape, or a long shadow, crouching near the turf, before the grass drops away to the beach. He thinks of breaking into a sprint, but knows the idea of the shadow moving more quickly in pursuit will stop his legs with fear and possibly his heart too. Hysteria gains momentum inside him. A sound squeezes out of his throat – a thin note of anguish t
hat trembles and threatens to grow into a scream. Should he shout? Who would hear him? 'Beth,' he says, in a weak voice. 'Beth, call it off. For Christ's sake, stop this,' he cries, as if he is being menaced by a dog while the owner looks on.
She laughs again, like a lunatic pleased after performing some awful deed with a child and a sharp implement. 'Our lord is here. He's here for you, Dante. Just for you.'
In the distance, just audible above Beth's voice, Dante hears a car engine. He looks over his left shoulder and sees headlights approaching, down the beach road. It is the only sign he needs. Forsaking the Land Rover, knowing he will never reach it, Dante suddenly breaks into a sprint toward the road, adrenaline neutralising pain. As he runs, he shouts and waves both arms in the air. But no sooner has he begun to run as fast as he is able, than a wind of pursuit flares up behind him. 'No!' he cries out, and stumbles. He looks back, only once and quickly too. It is sufficient. He sees the silhouette of something long and thin, close to the ground, coming after him.
Ahead, the car turns from the beach road to the open area he runs across. Hope surges. They've seen him. Hope peaks. He wants to cry out. Hope dies.
As if he is whacked by the boom of a boat, something hard thumps his back and knocks him down so quickly his hands never have a chance to break his fall. Before his face hits the earth, his ankles are clutched and slapped together. In the next instant he is being dragged backward toward the sea at an incredible speed. Whatever holds his ankles runs twice as fast as a man. His arms flail and his body skims over the stones and litter and bits of broken turf, as if he is being dragged behind a horse. If he is taken to the sand, he knows he is finished. Using all the might of his lungs, Dante screams.
For a moment his body is airborne. He seems to be flying, feet first, backward and through the air. In both hands, he clutches handfuls of grass from the turf he's just departed. When he lands, face first in the sand, the air is forced from his body, and consciousness is slammed from his head.
CHAPTER TWENTY-EIGHT
The voice is coming from a distance. For a while, it is as if someone is talking to Dante in a dream he is just about to leave. But when he wakes and opens his eyes, he realises the voice is no dream fragment; it is being spoken in the real world by a woman with a quiet but firm voice, who is pointing a torch at his face.
'He's awake,' she says to someone standing nearby. The light hurts his eyes. Pain erupts all over his body. He stays still, terrified to move in case the pain gets worse. He clenches one hand. Damp sand crushes in his palm and slides between his fingers. With the other hand he shields his eyes from the torchlight. 'Dante,' the woman says. 'It's all right. You've had a fall. Can you tell me if you're hurt?'
He groans.
'Tell me where it hurts,' she says, her voice soft.
'Sure he's no pissed?' a man's voice says from behind her.
'Canne smell anything on his breath,' she answers the man.
It is now that the full impact of the night's events crash into his mind. He suddenly remembers Beth's attack, the thing that prowled around him, the chase, being dragged to the sea, and then . . . nothing. But he is alive.
Dante sits up quickly, but immediately grips the sides of his head; the pain is so great his eyes water. 'I'm not dead . . . drunk. Not drunk.' It sounds like he's sleeptalking. The initial wave of agony subsides inside his skull. He keeps his head still. 'Who are you?' he asks, speaking slowly, feeling the shape of the words on his tongue.
Anxious, the man and woman move away from him. 'We're police officers,' the woman says. The torch beam shines in his eyes again. It blinds him. 'We saw your vehicle from the beach road with the lights on.'
Dante puts a hand to the patch of stinging skin on his throat and winces when his fingertips touch something wet. He looks up and squints until the male officer lowers the torch beam from his face. Now he can see their silhouettes. She is a head shorter than the man and neither of them wear hats. 'What happened?' the man says, his tone brusque.
Dante closes his eyes. His ribs hurt and there is something else bleeding on his back. He can feel his T-shirt sticking to the skin where it stings: a cut from when he was dragged across the ground. But what can he say to the police? His first feeling is an overwhelming gratitude. Inadvertently, they've saved him from the sea. From death out there in the dark and cold water. He shivers. His arm would have been found in the surf, eventually identified from the tattoos on the upper part. Tom would have identified it.
'What were you doing out here?' The woman's voice hardens with suspicion.
'I came out here to meet someone.' He pauses; they wait. 'It turned nasty.'
'You saying you were assaulted?' the man asks, his accent strong.
Dante nods.
'By who?' the male officer asks, losing his patience. The two officers exchange glances. 'Up on your feet,' the man orders. 'Come on.' He stretches an arm down. Dante fingers the sleeve of the man's jumper. His arm is limp and it feels as if there is no strength left in the muscles. Impatiently, the policeman seizes his elbow with a tight, practised grip and pulls him, sharply, to his feet. 'You been drinking, pal? Aye? Drugs maybe?'
The woman stands to one side. She is leafing through his wallet, which is how she must have learned his name. 'Says here your address is in Birmingham. Long way from home, son.'
'Yeah,' he says, and smiles with relief at her reminder of a place that is familiar to him: another world, away from this madness. The smile is not returned. Their expressions remain severe. She is pretty, but her face has gone tight and her eyes are hard.
'What are you doing here, pal? And who assaulted you?' the male officer asks.
Dante panics. What can he say without sounding like he's been taking drugs? What if they make him take a blood test? He and Tom have been smoking weed since they arrived. 'It's difficult,' he mumbles.
'What's difficult?' the man says, his torch in Dante's face again. 'You tellin' me you don't know who assaulted you? I'm not inclined to believe you, pal. We find you lying on the beach in the middle o' the night. What were you doing, staking out your plot before the tourists come down tomorrow?' Many take a similar line with him on account of his long hair and appearance. People's first reaction is distrust, their second ridicule. Not caring for the man's tone, which has become not only sarcastic but condescending, Dante says, 'No, pal. Nothing like that.'
The officer stiffens at the tone of Dante's voice and the mimicry implicit in his answer. 'You're well enough to backchat me, son, you're well enough to come in and do some talking.' Dante's right arm is seized behind the elbow.
'OK. OK,' he says, and struggles to untangle his arm. The iron fingers clench tighter. 'I'm sorry. I don't want to argue. It's just that I've had a shock. I've been unconscious –' his arm is released '– just let me get my bearings. My head is killing me. Please.' The woman moves closer to calm things down. She looks at her partner, who takes a reluctant step away from Dante. 'I'm not a troublemaker,' Dante says, and his voice trembles. He looks at the sea and then down the wide expanse of sand, still dark, and indifferent to what has befallen him. A place to die, where the wind and water and sky will carry on in their circle of tide and rain and day and night forever, unconcerned. He is frightened again and can't think straight. 'You came just in time. I want to thank you . . .' His weak voice fails him.
'That's all right,' the woman says, and touches his shoulder. Dante wipes his eyes.
She smiles. 'Let's go up to the car and have a wee chat. How's that sound?' Dante nods. All three of them climb away from the sea toward the patrol car parked beside his Land Rover.
Dante stands in the bathroom. He grips the washbasin to stop the shakes. Rinsing his face under the cold tap revives him, but does little to calm the storm inside his skull. It's all an illusion. It must be. This can't be real. It was just a big guy. Someone strong that finished Beth's dirty work. Unconvinced, he then slumps down to his knees and closes his eyes. 'I'm losing it,' he whispers.
Someth
ing raggedy and long flings itself through his mind. Immediately, he opens his eyes. He is back in shock. He takes deep breaths. He tries to kill the image. An illusion? Something was expecting him on the dark beach. Whatever it was, it came with Beth at the end of a night they intended to be his last. A final rendezvous at the climax of Eliot's plot where, all along, from their first exchange of letters, something in St Andrews has been waiting for him, or has been promised him.
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