Mr. Murder. By: Dean R. Koontz

portrayed, can walk through a hail of bullets untouched and prevail in

hand-to-hand combat with half a dozen men at one time or in quick

succession. Rapid convalescence seems less exceptional, by comparison,

than the common ability of on-screen heroes to pass unscathed through

Hell itself.

Plucking a cold fish sandwich from the remaining pile of food, bolting

it down in six large bites, he leaves McDonald’s. He begins searching

for a shopping mall.

Because this is southern California, he finds what he’s looking for in

short order, a sprawling complex of department and specialty stores, its

roof composed of more sheets of metal than a battleship, textured

concrete walls as formidable as the ramparts of any Medieval fortress,

surrounded by acres of lamp-lit blacktop. The ruthless commercial

nature of the place is disguised by park-like rows and clusters of

carrotwood trees, Indian laurels, willowy melaleucas, and palms.

He cruises endless aisles of parked cars until he spots a man in a

raincoat hurrying away from the mall and burdened by two full plastic

shopping bags. The shopper stops behind a white Buick, puts down the

bags, and fumbles for keys to unlock the trunk.

Three cars from the Buick, an open parking space is available.

The Honda, with him all the way from Oklahoma, has outlived its

usefulness. It must be abandoned here.

He gets out of the car with the tire iron in his right hand.

Gripping the tapered end, he holds it close to his leg to avoid calling

attention to it.

The storm is beginning to lose some of its force. The wind is abating.

No lightning scores the sky.

Although the rain is no less cold than it was earlier, he finds it

refreshing rather than chilling.

As he heads toward the mall–and the white Buick–he surveys the huge

parking lot. As far as he can tell, no one is watching him.

None of the bracketing vehicles along that aisle is in the process of

leaving, no lights, no telltale plumes of exhaust fumes. The nearest

moving car is three rows away.

The shopper has found his keys, opened the trunk of the Buick, and

stowed away the first of the two plastic bags. Bending to pick up the

second bag, the stranger becomes aware that he is no longer alone, turns

his head, looks back and up from his bent position in time to see the

tire iron sweeping toward his face, on which an expression of alarm

barely has time to form.

The second blow is probably unnecessary. The first will have driven

fragments of facial bones into the brain. He strikes again, anyway, at

the inert and silent shopper.

He throws the tire iron in the open trunk. It hits something with a

dull clank.

Move, move, confront, challenge, grapple, and prevail.

Wasting no time looking around to determine if he is still unobserved,

he plucks the man off the wet blacktop in the manner of a bodybuilder

beginning a clean-and-jerk lift with a barbell. He drops the corpse

into the trunk, and the car rocks with the impact of the dead weight.

The night and rain provide what little cover he needs to wrestle the

raincoat off the cadaver while it lies hidden in the open trunk. One of

the dead eyes stares fixedly while the other rolls loosely in the

socket, and the mouth is frozen in a broken-toothed howl of terror that

was never made.

When he pulls the coat on over his wet clothes, it is somewhat roomy and

an inch long in the sleeves but adequate for the time being. It covers

his bloodstained, torn, and food-smeared clothes, making him reasonably

presentable, which is all that he cares about.

It is still warm from the shopper’s body heat.

Later he will dispose of the cadaver, and tomorrow he will buy new

clothes. Now he has much to do and precious little time in which to do

it.

He takes the dead man’s wallet, which has a pleasingly thick sheaf of

currency in it.

He tosses the second shopping bag on top of the corpse, slams the trunk

lid. The keys are dangling from the lock.

In the Buick, fiddling with the heater controls, he drives away from the

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