Hitchison’s funereal voice and those three somber words still haunted him in moments like this.
Now we die?
Frank wheeled around another corner, nearly clipping a black BMW that was parked too close to the intersection. The tires squealed, and the sedan shimmied, and Frank said, “That address ought to be right around here somewhere.”
Tony squinted at the shadowy houses that were only partly illuminated by the streetlamps. “There it is, I think,” he said, pointing.
It was a large neo-Spanish house set well back from the street on a spacious lot. Red tile roof. Cream-colored stucco. Leaded windows. Two big wrought-iron carriage lamps, one on each side of the front door.
Frank parked in the circular driveway.
They got out of the unmarked sedan.
Tony reached under his jacket and slipped the service revolver out of his shoulder holster.
***
After Hilary had finished crying at her desk in the study, she had decided, in a daze, to go upstairs and make herself presentable before she reported the assault to the police. Her hair had been in complete disarray, her dress torn, her pantyhose shredded and hanging from her legs in ludicrous loops and tangles. She didn’t know how quickly the reporters would arrive once the word had gotten out on the police radio, but she had no doubt that they would show up sooner or later. She was something of a public figure, having written two hit films and having received an Academy Award nomination two years ago for her Arizona Shifty Pete screenplay. She treasured her privacy and preferred to avoid the press if at all possible, but she knew that she would have little choice but to make a statement and answer a few questions about what had happened to her this night. It was the wrong kind of publicity. It was embarrassing. Being the victim in a case like this was always humiliating. Although it should make her an object of sympathy and concern, it actually would make her look like a fool, a patsy just waiting to be pushed around. She had successfully defended herself against Frye, but that would not matter to the sensation seekers. In the unfriendly glare of the television lights and in the flat gray newspaper photos, she would look weak. The merciless American public would wonder why she had let Frye into her house. They would speculate that she had been raped and that her story of fending him off was just a coverup. Some of them would be certain that she had invited him in and had asked to be raped. Most of the sympathy she received would be shot through with morbid curiosity. The only thing she could control was her appearance when the newsmen arrived. She simply could not allow herself to be photographed in the pitiable, dissheveled state in which Bruno Frye had left her.
As she washed her face and combed her hair and changed into a silk robe that belted at the waist, she was not aware that these actions would damage her credibility with the police, later. She didn’t realize that, in making herself presentable, she was actually setting herself up as a target for at least one policeman’s suspicion and scorn, as well as for charges of being a liar.
Although she thought she was in command of herself, Hilary got the shakes again as she finished changing clothes. Her legs turned to jelly, and she was forced to lean against the closet door for a minute.
Nightmarish images crowded her mind, vivid flashes of unsummoned memories. At first, she saw Frye coming at her with a knife, grinning like a death’s head, but then he changed, melted into another shape, another identity, and he became her father, Earl Thomas, and then it was Earl who was coming at her, drunk and angry, cursing, taking swipes at her with his big hard hands. She shook her head and drew deep breaths and, with an effort, banished the vision.
But she could not stop shaking.
She imagined that she heard strange noises in another room of the house. A part of her knew that she was merely imagining it, but another part was sure that she could hear Frye returning for her.