She got to her feet.
He held the knife on her.
They went into the bedroom.
***
Hilary was not much of a drinker, but she was glad that she had a glass of good whiskey as she sat on the couch in Joshua Rhinehart's office and listened to the attorney's story. He told her and Tony about the missing funds in San Francisco, about the dead ringer who had left the bizarre letter in the safe-deposit box--and about his own growing uncertainty as to the identity of the dead man in Bruno Frye's grave.
"Are you going to exhume the body?" Tony asked.
"Not yet," Joshua said. "There are a couple of things I've got to look into first. If they check out, I might get enough answers so that it's not really necessary to open the grave."
He told them about Rita Yancy in Hollister and about Dr. Nicholas Rudge in San Francisco, and he reconstructed his recent conversation with Latham Hawthorne.
In spite of the warm room and the heat of the whiskey, Hilary was chilled to the bone. "This Hawthorne sounds as if he belongs in an institution himself."
Joshua sighed. "Sometimes I think if we put all the crazies into institutions, there'd hardly be anyone left on the outside."
Tony leaned forward on the couch. "Do you believe that Hawthorne really didn't know about the look-alike?"
"Yes," Joshua said. "Curiously enough, I do believe him. He may be something of a nut about Satanism, and he may not be particularly moral in some areas, and he might even be somewhat dangerous, but he didn't strike me as a dissembler, Strange as it might seem, I think he's probably a generally truthful man in most matters, and I can't see that there's anything more to be learned from him. Perhaps Dr. Rudge or Rita Yancy will know something of more value. But enough of that. Now let me hear from the two of you. What's happened? What's brought you all the way to St. Helena?"
Hilary and Tony took turns recounting the events of the past few days.
When they finished, Joshua stared at Hilary for a moment, then shook his head and said, "You've got a hell of a lot of courage, young lady."
"Not me," she said. "I'm a coward. I'm scared to death. I've been scared to death for days."
"Being scared doesn't mean you're a coward," Joshua said. "All bravery is based on fear. Both the coward and the hero act out of terror and necessity. The only difference between them is simply that the coward succumbs to his fear while the person with courage triumphs in spite of it. If you were a coward, you would have run away for a month-long holiday in Europe or Hawaii or some such place, and you'd have counted on time to solve the Frye riddle. But you've come here, to Bruno's hometown, where you might well expect to be in even more danger than you were in Los Angeles. I don't admire much in this world. but I do admire your spunk."
Hilary was blushing. She looked at Tony, then down at her glass of whiskey. "If I was brave," she said, "I'd stay in the city and set up a trap for him, using myself for bait. I'm not really in much danger here. After all, he's busy looking for me down in L.A. And there's no way that he can find out where I've gone."
***
The bedroom.
From the bed Sally watched him with alert and fear-filled eyes.
He walked around the room, looking in drawers. Then he came back to her.
Her throat was slender and taut. The bead of blood had dribbled down the graceful arc of flesh to her collarbone. She saw him looking at the blood, and she reached up with one hand, touched it, stared at her stained fingers.
"Don't worry," he said. "It's only a scratch."
Sally's bedroom, at the rear of the neat little bungalow, was decorated entirely in earth tones. Three walls were painted beige; the fourth was covered with burlap wallpaper. The carpet was chocolate brown. The bedspread and the matching drapes were a coffee and cream abstract pattern, restful swirls of natural shades that soothed the eye. The highly polished mahogany furniture gleamed where it was touched by the soft, shaded, amber glow that came from one of the two copperplated bedside lamps that stood on the nightstands.
She lay on the bed, on her back, legs together, arms at her sides, hands fisted. She was still wearing her white uniform; it was pulled down demurely to her knees. Her long chestnut-brown hair was spread out like a fan around her head. She was quite pretty.
Bruno sat on the edge of the bed beside her. "Where is Katherine?"
She blinked. Tears slid out of the corners of her eyes. She was weeping, but silently, afraid to shriek and wail and groan, afraid that the slightest sound would cause him to stab her.
He repeated the question: "Where is Katherine?"
"I told you, I don't know anyone named Katherine," she said. Her speech was halting, tremulous; each word required a separate struggle. Her sensual lower lip quivered as she spoke.
"You know who I mean," he said sharply. "Don't play games with me. She calls herself Hilary Thomas now."
"Please. Please ... let me go."
He held the knife up to her right eye, the point directed at the widening pupil. "Where is Hilary Thomas?"
"Oh, Jesus," she said shakily. "Look, mister, there's some sort of mix-up. A mistake. You're making a big mistake."
"You want to lose your eye?"
Sweat popped out along her hairline.
"You want to be half blind?" he asked.
"I don't know where she is," Sally said miserably.
"Don't lie to me."
"I'm not lying, I swear I'm not."
He stared at her for a few seconds.
By now there was sweat on her upper lip, too, tiny dots of moisture.
He took the knife away from her eye.
She was visibly relieved.
He surprised her. He slapped her face with his other hand, hit her so hard that her teeth clacked together and her eyes rolled back in her head.
"Bitch."
There were a lot of tears now. She made soft, mewling sounds and shrank back from him.
"You must know where she is," he said. "She hired you."
"We work for her regularly. She just called in and asked for a special clean-up. She didn't say where she was."
"Was she at the house when you got there?"
"No."
"Was anyone at the house when you got there?"
"No."
"Then how'd you get in?"
"Huh?"
"Who gave you the key?"
"Oh. Oh, yeah," she said, brightening a bit as she saw a way out. "Her agent. A literary agent. We had to stop at his office first to get the key."
"Where's that?"
"Beverly Hills. You should go talk to her agent if you want to know where she is. That's who you should see. He'll know where you can find her."
"What's his name?"
She hesitated. "A funny name. I saw it written down ... but I'm not sure I remember it exactly...."
He held the knife up to her eye again.
"Topelis," she said.
"Spell it for me."
She did. "I don't know where Miss Thomas is. But that Mr. Topelis will know. He'll know for sure."
He took the knife away from her eye.
She had been rigid. She sagged a bit.
He stared down at her. Something stirred in the back of his mind, a memory, then an awful realization.
"Your hair," he said. "You've got dark hair. And your eyes. They're so dark."
"What's wrong?" she asked worriedly, suddenly sensing that she was not safe yet.
"You've got the same hair and eyes, the same complexion that she had," Frye said.
"I don't understand, I don't know what's happening here. You're scaring me."
"Did you think you could trick me?" He was grinning at her, pleased with himself for not being fooled by her clever ruse.
He knew. He knew.
"You figured I'd go off to see this Topelis," Bruno said, and then you would have a chance to slip away."
"Topelis knows where she is. He knows. I don't. I really don't know anything."
"I know where she is now," Bruno said.
"If you know, then you can just let me go."