Mr. Murder. By: Dean R. Koontz

stopped him for good. That and a brain-scrambling shot to the head are

the only wounds he fears.

When he reaches the cashier’s window, he pays for the order with some of

the money he took from Jack and Frannie in Oklahoma more than

twenty-four hours ago. The young woman at the cash register can see his

arm as he holds the currency toward her, so he strives to repress the

severe tremors that might prick her curiosity. He keeps his face

averted, in the night and rain, she can’t see his ravaged chest or the

agony that contorts his pale features.

At the pick-up window, his order comes in several white bags, which he

piles on the littered seat beside him, successfully averting his face

from this clerk as well. All of his willpower is required to restrain

himself from ripping the bags asunder and tearing into the food

immediately upon receipt of it. He retains enough clarity of mind to

realize he must not cause a scene by blocking the take-out lane.

He parks in the darkest corner of the restaurant lot, switches off the

headlights and windshield wipers. His face looks so gaunt when he

glimpses it in the rearview mirror that he knows he has lost several

pounds in the past hour, his eyes are sunken and appear to be ringed

with smudges of soot. He dims the instrument-panel lights as far as

possible, but lets the engine run because, in his current debilitated

condition, he needs to bask in the warm air from the heater vents.

He is swaddled in shadows. The rain streaming down the glass shimmers

with reflected light from neon signs, and it bends the night world into

mutagenic forms, simultaneously screening him from prying eyes.

In this mechanical cave, he reverts to savagery and is, for a time,

something less than human, tearing at his food with animalistic

impatience, stuffing it into his mouth faster than he can swallow.

Burgers and buns and fries crumble against his lips, his teeth, and

leave a growing slope of organic scree across his chest, cola and

milkshake dribble down the front of his shirt. He chokes repeatedly,

spraying food on the steering wheel and dashboard, but eats no less

wolfishly, no less urgently, issuing small wordless greedy sounds and

low moans of satisfaction.

His feeding frenzy translates into a period of numb and silent

withdrawal much like a trance, from which he eventually arises with

three names on his lips, whispered like a prayer, “Paige . . .

Charlotte . . Emily. ..”

From experience he knows that, in the hours before dawn, he will suffer

new bouts of hunger, though none as devastating and obsessive as the

seizure he has just endured. A few bars of chocolate or cans of Vienna

sausages or packages of hot dogs depending on whether it is

carbohydrates or proteins that he craves–will ensure abatement of the

pangs.

He will be able to focus his attention on other critical issues without

worrying about major distractions of a physiological nature.

The most serious of those crises is the continued enslavement of his

wife and children by the man who has stolen his life.

“Paige. . . Charlotte. . . Emily. ..”

Tears cloud his vision when he thinks of his family in the hands of the

hateful imposter. They are so precious to him. They are his only

fortune, his reason for existence, his future.

He recalls the wonder and joy with which he explored his house, standing

in his daughters’ room, later touching the bed in which he and his wife

make love. The moment he had seen their faces in the photograph on his

desk, he had known they were his destiny and that in their loving

embrace he would find surcease from the confusion, loneliness, and quiet

desperation that have plagued him.

He remembers, as well, the first surprising confrontation with the

imposter, the shock and amazement of their uncanny resemblance, the

perfectly matched pitch and timbre of their voices. He had understood

at once how the man could have stepped into his life without anyone

being the wiser.

Though his exploration of the house provided no clue to explain the

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