The Moonlit Mind by Dean Koontz Ch 18-2
Crispin drops the hammer and reaches out to this last pair. For only a moment, they settle upon the palm of his hand. They are his sweet sister and his beloved brother, as ever they looked, only so much smaller.
The dog stands on his hind feet, forepaws against the model plinth, eager to see.
This Mirabell and this Harley in Crispin's hand have no weight, yet they are the heaviest thing he has ever held. They should not linger, nor should he want to detain them. He says only, “I love you.”
The pair rise from his upturned palm, and by the grace of their flight and by a sudden golden glow just before they vanish, they seem to return to him the love that he expressed.
Things are still crashing far down in Theron Hall, and the model is trembling and tweaking.
Snatching up the hammer, Crispin hurries around to the front of the model, where the last of the three cats is still on the window seat, peering hopefully out.
After a hesitation, he taps the hammer against one of the little windows, cracking through the stiles and muntins, shattering the tiny panes.
If the cat was once a real cat, reduced to the size of a mouse to serve as an avatar, if it was a stand-in for a human soul until the soul could be captured, it is not evil. It was as ruthlessly used as Mirabell and Harley were used.
The three-inch cat leaps through the missing window, into the palm of his hand. He holds it low to allow the dog to inspect it, and Harley approves. Crispin puts the tiny cat in a jacket pocket, certain that in this mysterious world, it will be at some point an important and valued companion.
As ominous rumbling rises far below, Crispin takes a can of lighter fluid from his backpack and a butane match from a pocket of his jeans. He squirts the fluid into the ground-floor drawing room from which the cat escaped and lights the dribbled trail with the match. Flames roar at once through the miniature room and into the ground-floor hallway.
He hammers out a couple of windows on the second floor, floods two more rooms with lighter fluid, and sets them afire.
Intuition tells him that he has no more time, that he shouldn't even hesitate to retrieve his backpack. He has left his deck of cards and all his money with Amity. He doesn't need to take from Theron Hall anything he brought to it, except the dog. He holds fast to the hammer, however, in case he needs a weapon, and Harley precedes him from the room into the third-floor hallway.
Smoke. The burning rooms are on the second and ground floors, but smoke has already found its way to the third, thin gray tendrils weaving through the air like malevolent spirits.
Boy and dog run for the south stairs.
They are three-quarters of the way along the corridor when Mr. Mordred explodes from an open doorway with all the suddenness of a joke snake springing from a can. He tears the hammer out of Crispin's grasp, throws him against a wall, and swings the weapon he has just confiscated. As Crispin ducks, the struck wall booms above his head.
Nothing about the tutor is amusing now. His face is contorted in hatred, his eyes bloodshot. From him issues a continuous stream of curses and a spray of spittle as he the turns the hammer in his hand and swings with the claw end as the weapon. The smooth back curve of the wicked instrument grazes Crispin's face. No damage. He dodges and twists, but the next assault is a closer thing, the claw snags his jacket, and the denim rips.
As the house fire alarm starts to shriek, the dog leaps onto Mordred's back, knocking the hulking man off balance, driving him face-first into the floor. Crispin snatches up the dropped hammer, the dog does a 180-degree spin on Mordred's back, and they are off for the south stairs once more. There's not the pale fire of the moon at the bottom of the stairwell this time, but real fire, bright as the sun, and smoke churning upward. They can't go all the way down, only as far as the second floor. Harley leads along this new corridor, where the fire is toward the farther end. They race down one of the curving front staircases to the foyer, though this route is forbidden to children and staff, not to mention dogs.
As he comes off the bottom step, Crispin hears the shot and in the same instant the bullet ringing off the head of the hammer, which falls from his hand.
In the foyer, wearing a black knit suit and red scarf, Nanny Sayo advances with a pistol in both hands. “Piglet,” she says. “You wouldn't leave without a kiss for Nanny, would you?” For the first time ever, the dog growls.
“There's nothing special about you, piglet. Now you'll be food for worms, just like your sister and brother.” “You've lost,” he says. She smiles and moves toward him. “You little fool. I've bent a hundred like you and broken a hundred more. I look young, but I am older than Jardena.”
Less than an arm's length away, she halts. The fire alarm continues to shrill, and smoke begins to slither down the dual staircases.
Crispin stares into the muzzle of the pistol, but then he meets her eyes, which are as beautiful and as magnetic as ever.
“Food for worms … or not. Your choice. But Nanny has so much to teach you, pretty piglet, and you'll love learning all of it. You'll find my lessons quite delicious.” Although thirteen, the boy feels nine again, and in her thrall. He remembers her warm hand on his bare chest as if the touch occurred only minutes earlier.
“What you saw Nanny doing in front of the altar that night … Oh, my pretty piglet, Nanny would love to do the same to you.”
Her eyes are bottomless wells into which a boy might fall.
He knows he should say something, counter her words, but he remains mute. And trembles.
“But before Nanny can be for you what you need her to be, she has to know she can trust you. Come here, sweetie. Prove to Nanny that you love her. Come here and put your mouth around the barrel of the gun.”
Before he can take a step toward her, if indeed he will, the fire-sprinkler system goes off, and a hard rain falls into the foyer as elsewhere in the house.
Startled, Nanny Sayo takes a step backward, swings the pistol to the left, and then to the right.
Swift-moving water. The cascades in the park behind which he has sometimes taken shelter. A rushing stream. Now this indoor rain. This is a dispensation that Nature in its mercy bestows on him and the dog, invisibility to this woman and all her kind.
He and the dog go to the front door, which he opens.
Moving warily, seeking him in the wrong part of the foyer, a sodden Nanny Sayo fires a round, trusting to luck, and then squeezes off one more that comes nowhere near him.
He says, “Mirabell and Harley live,” and she swivels, shooting out one of the sidelights flanking the door.
Another portion of the underpinnings of the house collapses with a boom. The walls shudder and the chandelier sways.
Nanny Sayo totters as the foyer shifts under her.
When Crispin steps outside with Harley, into what will soon be a blizzard if a wind rises, he closes the door, turns away, and hears what might be the foyer floor collapsing into the basement.
Strangely—or perhaps not so strangely—he and the dog are dry, untouched by the sprinkler-system rain.
Across the street, through the heavy snow, the Pendleton at the moment looks less like a great mansion than like a work of primitive architecture such as Stonehenge but much larger, or like a place the Aztecs might have built in which to offer up the freshly taken hearts of virgins. In fact, although the city below is so modern, a home for many high-tech companies, Crispin can almost see another city through the veil of glamour, a huddled place that is ancient and dangerous and full of stone idols to gods with inhuman faces.
He is grateful for the masking snow.
He and Harley follow Shadow Street down Shadow Hill, staying on the sidewalk. Fire trucks will soon roar up the eastbound lanes.
The snowflakes are smaller than the silver-dollar variety with which the storm began, but still large, lacy dime-size hieroglyphics full of meaning but whirling past too fast to read.
A faint meow reminds Crispin, and he looks down to see the tiny cat, his avatar, the claws of its forepaws hooked over the edge of his jacket pocket, its small head poked out. The cat regards the snow with what seems to be wonder.
Briefly the descending flakes appear to stutter, as if they are a special effect produced by a machine that has lost its current for a second, but then they continue falling as smoothly and gracefully as ever. Crispin suspects that at the instant of the stutter, someone in Broderick's turned on the artificial snow that will spiral down all day on the model of the store that stands at the center of the toy department. From time to time, things in this world fall out of harmony, and there is a need to synchronize.
