As sleep crept over her, she held a drowsy dialogue with herself.
Am I falling in love?
--No. Of course not.
Maybe. Maybe I am.
--No. Love's dangerous.
Maybe it'll work with him.
--Remember Earl and Emma.
Tony's different.
--You're horny. That's all it is. You're just horny.
That, too.
She slept, and she dreamed. Some of the dreams were golden and fuzzy about the edges. In one of them she was naked with Tony, lying in a meadow where the grass felt like feathers, high above the world, a meadow atop a towering pillar of rock, and the warm wind was cleaner than sunshine, cleaner than the electric current of a lightning bolt, cleaner than anything in the world.
But she had nightmares, too. In one of them, she was in the old Chicago apartment, and the walls were closing in, and when she looked up she saw there was no ceiling, and Earl and Emma were staring down at her, their faces as big as God's face, grinning down at her as the walls closed in, and when she opened the door to run out of the apartment, she collided with an enormous cockroach, a monstrous insect bigger than she was, and it obviously intended to eat her alive.
***
At three o'clock in the morning, Joshua Rhinehart woke, grunting and tussling briefly with the tangled sheets. He'd drunk a bit too much wine with dinner, which was most unusual for him. The buzz was gone, but his bladder was killing him; however, it was not merely the call of nature that had disturbed his sleep. He'd had a horrible dream about Tannerton's workroom. In that nightmare, several dead men--all of them duplicates of Bruno Frye--had risen up from their caskets and from the porcelain and stainless steel embalming tables; he had run into the night behind Forever View, but they had come after him, had searched the shadows for him, moving jerkily, calling his name in their flat dead voices.
He lay on his back in the darkness, staring at the ceiling which he could not see. The only sound was the nearly inaudible purr of the electronic digital clock on the nightstand.
Before his wife's death three years ago, Joshua had seldom dreamed. And he'd never had a nightmare. Not once in fifty-eight years. But after Cora passed away, all of that changed. He dreamed at least once or twice a week now, and more often than not the dream was a bad one. Many of them had to do with losing something terribly important but indescribable, and there always ensued a frantic but hopeless search for that which he had lost. He didn't need a fifty-dollar-an-hour psychiatrist to tell him that those dreams were about Cora and her untimely death. He still had not adjusted to life without her. Perhaps he never would. The other nightmares were filled with walking dead men who often looked like him, symbols of his own mortality; but tonight they all bore a striking resemblance to Bruno Frye.
He got out of bed, stretched, yawned. He shuffled to the bathroom without turning on a lamp.
A couple of minutes later, on his way back to bed, he stopped at the window. The panes were cold to the touch. A stiff wind pressed against the glass and made mewling sounds like an animal that wanted to be let inside. The valley was still and dark except for the lights of the wineries. He could see the Shade Tree Vineyards to the north, farther up in the hills.
Suddenly, his eye was caught by a fuzzy white dot just south of the winery, a single smudge of light in the middle of a vineyard, approximately where the Frye house stood. Lights in the Frye house? There wasn't supposed to be anyone there. Bruno had lived alone. Joshua squinted, but without his glasses, everything at a distance tended to grow hazier the harder he tried to focus on it. He couldn't tell if the light was at the Frye place or at one of the administration buildings between the house and the main winery complex. In fact, the longer he stared the less he was sure that it was a light he was watching; it was faint, lambent; it might only be a reflection of moonlight.
He went to the nightstand and, not wanting to turn on a lamp and spoil his night vision, he felt for his glasses in the dark. Before he found them, he knocked over an empty water glass.
When he got back to the window and looked up into the hills again, the mysterious light was gone. Nevertheless, he stood there for a long while, a vigilant guardian. He was executor of the Frye estate, and it was his duty to preserve it for final distribution in accordance with the will. If burglars and vandals were stripping the house, he wanted to know about it. For fifteen minutes, he waited and watched, but the light never returned.
At last, convinced that his weak eyes had deceived him, he went back to bed.
***
Monday morning, as Tony and Frank pursued a series of possible leads on Bobby Valdez, Frank talked animatedly about Janet Yamada. Janet was so pretty. Janet was so intelligent. Janet was so understanding. Janet was this, and Janet was that. He was a bore on the subject of Janet Yamada, but Tony allowed him to gush and ramble. It was good to see Frank talking and acting like a normal human being.
Before checking out their unmarked police sedan and getting on the road, Tony and Frank had spoken to two men on the narcotics squad, Detectives Eddie Quevedo and Carl Hammerstein. The word from those two specialists was that Bobby Valdez was most likely selling either cocaine or PCP to support himself while he pursued his unpaid vocation as a rapist. The biggest money in the L.A. drug market was currently in those two illegal but extremely popular substances. A dealer could still make a fortune in heroin or grass, but those were no longer the most lucrative commodities in the underground pharmacy. According to the narcs, if Bobby was involved in drug traffic, he had to be a pusher, selling directly to users, a man at the lower end of the production and marketing structure. He was virtually penniless when he got out of prison last April, and he needed substantial capital to become either a manufacturer or an importer of narcotics. "What you're looking for is a common street hustler," Quevedo had told Tony and Frank. "Talk to other hustlers." Hammerstein had said, "We'll give you a list of names and addresses. They're all guys who've taken falls for dealing drugs. Most of them are probably dealing again; we just haven't caught them at it yet. Put on a little pressure. Sooner or later, you'll find one of them who's run into Bobby on the street and knows where he's holed up." There were twenty-four names on the list that Quevedo and Hammerstein had given them.
Three of the first six men were not at home. The other three swore they didn't know Bobby Valdez or Juan Mazquezza or anyone else with the face in the mug shots.
The seventh name on the list was Eugene Tucker, and he was able to help them. They didn't even have to lean on him. Most black men were actually one shade of brown or another, but Tucker was truly black. His face was broad and smooth and as black as tar. His dark brown eyes were far lighter than his skin. He had a bushy black beard that was salted with curly white hairs, and that touch of frosting was the only thing about him, other than the whites of his eyes, that was not very, very dark. He even wore black slacks and a black shirt. He was stocky, with a big chest and bigger arms, and his neck was as thick as a wharf post. He looked as if he snapped railroad ties in two for exercise--or maybe just for fun.
Tucker lived in a high-rent townhouse in the Hollywood Hills, a roomy place that was sparsely but tastefully furnished. The living room had only four pieces in it: a couch, two chairs, a coffee table. No end tables or fancy storage units. No stereo. No television set. There weren't even any lamps; at night, the only light would come from the ceiling fixture. But the four pieces that he did have were of remarkably high quality, and each item perfectly accented the others. Tucker had a taste for fine Chinese antiques. The couch and chairs, which recently had been reupholstered in jade-green velvet, were all made of hand-carved rosewood, a hundred years old, maybe twice that, immensely heavy and well-preserved, matchless examples of their period and style. The low table was also rosewood with a narrow inlaid ivory border. Tony and Frank sat on the couch, and Eugene Tucker perched on the edge of a chair opposite them.