The Moonlit Mind by Dean Koontz Ch 18-1
18
Having dealt the four sixes on Sunday evening, he must wait until the first employees arrive on Monday to avoid triggering the perimeter alarm. Following a route described by Amity, boy and dog slip out of the department store without being seen by any of the early-arriving guards and maintenance people.
They have no reason to wait for nightfall before approaching Theron Hall. There is no safety in darkness and perhaps more risk.
The first snow of the season fell Saturday night through Sunday morning. Already another storm has moved in. As Crispin and Harley set out for Shadow Hill, Shadow Street, and the house at the crest, new snow begins to sift down upon the old.
Winter transforms the city, white petals floating through an almost windless day, and everywhere the mantles and plowed mounds of the weekend storm remain largely pristine, not yet badly soiled by a workday. How easy it might be to think that with the casting down of this crystal manna, the great metropolis has been sanctified, that it is as innocent as these bridal veils make it seem. Easy for others, perhaps, but not for Crispin.
They approach the grand house from the back street, which is too wide and—when the pavement is visible—too ornately cobbled to be called a mere alley.
A stately carriage house, which serves as a garage, stands at the rear of the property. The pathway that leads from garage to house hasn't been shoveled, and no footprints disturb the coverlet of snow. According to what Amity overheard when she served Clarette and friends tea in Eleanor's a couple of weeks earlier, the family—if such a word applies—and most of the staff are by now in Brazil. The few who remain have evidently kept busy inside rather than venture into the cold.
Crossing the exposed ground between garage and house, Crispin searches the three floors of windows. No pale face appears at any pane.
A part of him believes that the power that has saved him often in the past few years, the power that wants him to return to Theron Hall to conclude unfinished business, has armored him against harm and will lead him to the third floor and safely away again without a violent encounter. But another part of him, a less wishful Crispin and one who knows that journeying through the fields of evil is the price we pay for free will, expects the worst.
If they know that he stole one of the spare house keys on that September night, they might have changed the lock. Or they might leave it unchanged in anticipation of his return.
Of the three back doors, he chooses the one that opens into the mud room behind the kitchen. The key works. He eases the door open.
The space is dark but for the snow light that presses coldly through two small windows.
He stands listening to a house so silent that perhaps everyone went to Rio, leaving only ghosts behind.
Because he doesn't want to take off his backpack to use a chair, Crispin leans against the cabinetry to use the mud room's small whisk broom to brush the caked snow from his shoes and from the legs of his jeans. The dog shakes his thick coat, flinging off melted snow and bits of icy slush. That noisy moment of grooming doesn't raise an alarm, which must mean that no one on the skeleton staff is nearby. Aware that they will for a while leave wet footprints, Crispin is nevertheless disposed to move at once rather than dry his shoes and the dog's paws with rags. The kitchen is as shadowy and deserted as the mud room. The only sound is the hum of the refrigerators.
If three or even four of the staff have stayed behind to keep the house clean and functional, they are spread over such a vastness of rooms that he is unlikely to come face-to-face with one of them. He must also remember that, whatever else they may be, they are not demons. They are still human beings, as vulnerable as he is, as prone to error.
The boy decides to let the dog lead, and Harley takes him to the south stairs. Within the open tube of stone, the bronze railing and the spiral treads wind upward like the twisted spine of some bizarre Jurassic beast.
At the top, he leans over the railing and looks down, to be sure that no one is ascending quietly behind them. At the bottom of the stairwell, a full moon shines, as though Crispin is gazing up through a roofless tower instead of down. He assumes that whether this is a trick of light or something more, it is in either case a sign, and not a bad one, because the moon has always been to him the lamp of wisdom, a symbol of the right way to see the world.
They walk the third-floor hall and arrive at the miniature room without incident.
When Crispin switches on the overhead lights, the chandeliers and lamps within the scale model brighten as well.
Harley has never been here before. Although he's an unusual mutt and perhaps something more than a canine, he behaves as any dog might in a new place: He puts his nose to the floor, sniffing this way and that around the solid pedestal that supports the huge scale model. Crispin begins with the drawing room where, on the afternoon of the feast of the archangels, the two mouse-size cats perched on the window seat and peered at him through the French panes.
At once a white feline form enters the miniature room from the hallway, races to the window seat, springs up, and blinks its little green eyes. When Crispin touches one fingertip to the window, the cat rubs its face against the inside of the pane, as though yearning for contact with him.
The boy has had more than three long years to think about this extraordinary reproduction of Theron Hall, and he is not surprised that only a single cat greets him this time. Three cats for three children. With Mirabell dead, two cats appeared to Crispin on the afternoon before Harley was chained to that altar. Now, of Clarette's three little bastards, only one remains, therefore one cat. As the cats were somehow reduced to three inches and imprisoned in the miniature Theron Hall, so the three children were in their own way imprisoned in the real house. The cats were avatars of Mirabell, Harley, and Crispin; and if the cats ever escaped, the children would cast off their spells and break free, too.
Now that Mirabell and Harley are dead, two cats are gone. An avatar is an embodiment of a principle. If the principle—in this case a child—ceases to exist, the avatar might cease to exist, too, if you think of the child as just an animal, a meat machine.
Every child, every human being, however, is more than just a physical presence, which Giles Gregorio and his freak-show family well know. These apostles of the dark side want not only the blood of the innocent—a perversion of “Do this in remembrance of me”—but also their souls.
When a child is murdered in a ritual act, the soul will not be condemned forever. No action of an innocent could earn damnation.
Crispin is certain, therefore, that in the way that matters most, Mirabell and Harley are still alive, their spirits imprisoned in the scale model of Theron Hall.
He has survived so that he might free them.
Years of brooding on the subject leads him to the conclusion that the souls herein don't have the same freedom of movement within the miniature structure that the avatar cats enjoyed. If they are captive, they will be in the room that the Gregorios regard as the most important—the altar room behind the steel-slab door.
The only level of Theron Hall not represented in this model is the basement. But it must be here, hidden in the presentation plinth on which the aboveground floors now stand.
As Crispin finishes shrugging off his backpack, the dog whines softly to attract his attention.
At the south end of the thirty-five-foot model, Harley sniffs vigorously at the overhanging surbase of the plinth.
Easing the dog aside, Crispin feels under this lip … and finds the switch.
Motors purr, the structure rises from the base that supports it, and inch by inch the underground level appears. Because ceilings in the basement are at only nine feet, the fully exposed cellar measures twenty-seven inches high in one-quarter scale, and it is presented as a long expanse of poured-in-place concrete.
Crispin hurries to his backpack, removes a claw hammer from a zippered compartment, and goes around to the back—the east—side of the model.
If any of the remaining staff is on the third floor, this is the most dangerous moment of the operation. The foundation concrete through which he needs to break is phony of course, but the top three floors of the model must rest on this, so there will be some sort of structure behind the faux concrete. The noise might not be contained within this room.
He swings the face of the hammer first, caving in a swath of the basement wall, and at once he discovers that the noise he makes here will be dwarfed by the greater noise of the west basement wall of the real house sustaining damage identical to that wrought upon the model. The miniature Theron Hall and the real one shudder, and as Crispin continues to hammer, he hears great slabs of debris crash to the basement floor four stories under him.
He reverses the hammer, using the claw to tear away chunks of the wall. As supports far below in the true house groan and as the floors on every level creak and pop, he exposes the altar room in the model.
In there, a thousand flickering electric lights in a thousand tiny glass holders mimic the candles that he saw on the night that his brother was killed. He is behind the altar, having knocked aside the upside-down crucifix. He reaches into the satanic church, seizes the marble table that serves as an altar, and rips the eighteen-inch miniature from its mounts. He places it on the floor and hammers it twice, until it cracks in pieces.
At that moment, from the hole that he has made in the basement wall of the model, a flock of what he first takes to be immense white moths or butterflies erupts, brushing his face, fluttering around his head. But then he sees that their wings are white dresses or choirboy robes and that they are children, some as small as six inches, the tallest perhaps twelve. There must be twenty of them. Although they appear to be laughing or singing, they make no sound, yet their joy is evident in their exuberant flight, as they soar and swoop and dance in midair.
They do not belong here now that they are freed, and they don't linger, but quickly fade, vanishing in flight, until only the most recently imprisoned two remain.
