Dean Koontz - The Door To December

Science and the Devil, walking arm in arm.

It was a naive image, even simpleminded. The song had probably been nothing but propaganda for the New Luddites who yearned to dismantle civilization and go back to living in tents or caves. Dan had no sympathy for that point of view. He knew that tents were drafty and damp. But for some reason the image of 'Science and the Devil, walking arm in arm, had a powerful effect on him, and a chill spread through his bones.

Suddenly he was no longer in the mood to visit Regine Savannah Hoffritz. He'd put in a long day. Time to go home. His forehead hurt where he'd been hit, and a score of bruises throbbed all over his body. His joints felt as if they were on fire. His eyes were burning, watering, itching. He needed a beer or two — and ten hours of sleep.

But he still had work to do.

* * *

Laura looked around in shock and disbelief.

Dirt, flowers, leaves, and other debris were scattered across the kitchen table and through the uneaten portions of their dinners. Battered roses littered the floor and the counters. Gnarled, broken bunches of red and purple impatiens bristled out of the sink. One white rose hung through the handle of the refrigerator door, and bits of greenery and hundreds of detached petals were stuck to the curtains, the walls, and the doors of the cabinets. On the floor, a mound of limp, ragged greenery and wind-burned blossoms marked the spot where the whirlwind had died.

'Let's get out of here,' Earl said, the gun still in his hand.

'But this mess,' Laura began.

'Later,' he said, going to Melanie, pulling the somnolent child up from her chair.

Dazed, Laura said, 'But I've got to clean up—'

'Come on, come on,' Earl said impatiently. His ruddy, country-boy complexion had vanished. He was now pallid and waxy. 'Into the living room.'

She hesitated, surveying the tangled debris.

'Come on,' Earl said, 'before something worse comes through that door!'

Regine Savannah Hoffritz lived on one of the less expensive streets in the Hollywood hills. Her house was a prime example of the eclectic-anachronistic-madcap architecture which was actually rare in California but which chauvinistic New Yorkers pointed to as an example of typical West Coast tastelessness. Judging by its use of brick and exposed exterior wall beams, Dan supposed that the house was intended to be English Tudor, though there were elaborate carved Victorian eaves, American colonial shutters — and big brass carriage lamps, of no discernible period or style, flanking the front door and the garage. The two pilasters framing the entrance to the walk were stucco with Mexican-tile trim, bearing heavy wrought-iron lamps utterly different from — yet no nearer the Tudor ideal than — the brass fixtures employed elsewhere.

A black Porsche was parked in the driveway. In the ghostly white radiance of the various and clashing lamps, the curvature and sheen of the car's long hood was reminiscent of a beetle's carapace.

Dan rang the doorbell, withdrew his police ID, waited with his shoulders hunched in the chilly wind, and then rang the bell again.

When the door finally opened, it was on a security chain. Half of a lovely face peered out at him: lustrous black hair, porcelain skin, one large and clear brown eye, half a precisely sculpted nose in which the one visible nostril was as delicately formed as if it had been made from blown glass, and one-half of a ripe and alluring mouth.

She said, 'Yes?'

Her voice was soft, breathy. Although it might have been her God-given voice, completely unaffected, it nevertheless sounded phony, calculated.

Dan said, 'Regine Hoffritz?'

'Yes.'

'Lieutenant Haldane. Police. I'd like to talk with you. About your husband.'

She squinted at his identification. 'What husband?'

He heard another quality in her voice: a pliancy, a meekness, a tremulous and yielding weakness. She seemed to be waiting only for a command that would reduce her to unquestioning obedience.

He didn't think her tone had anything to do with his being a cop. He suspected that she was always like this, with everyone. Or, rather, she had always been like this since Willy Hoffritz had changed her.

'Your husband,' he said. 'Wilhelm Hoffritz.'

'Oh. Just a minute.'

She closed the door, and it stayed closed for ten seconds, twenty, half a minute, longer. Dan was just about to ring the bell again when he heard the security chain being disengaged.

The door opened. She stepped back, and Dan entered past three pieces of luggage that stood to one side. In the living room, he sat in an armchair, and she chose the rust-brown sofa. Her posture and manner were demure, yet her primary effect was powerfully seductive.

Although she was a striking woman, something about her was not quite right. Her considerable femininity seemed studied, exaggerated. Her hair was so perfectly coiffed and her makeup was so exactingly and faultlessly applied that she looked as if she were about to step before the cameras to film a Revlon commercial. She wore a floor-length, cream-colored silk robe cinched tightly at the waist to emphasize her full breasts, flat belly, and flaring hips. The robe was excessively frilly as well, with silk ruffles up the lapels, at the collar and cuffs and hem. At her tender throat she wore a gold mesh dog collar; it was one of those close-fitting necklaces that had been popular years ago. These days, among the general population, where such jewelry had no significance beyond mere decoration, dog collars could be seen only occasionally, though among sadomasochistic couples, such items remained in demand, because they were seen as a symbol of sexual subservience. And though Dan had met Regine only a minute ago, he knew that she wore her collar with that submissive and masochistic intent, for a crushed and obedient spirit was evident in the way she averted her face, in the graceful and yet humbled way she moved (as if anticipating and perversely welcoming a blow, a slap, a cruel pinch), and in her avoidance of eye contact.

She waited for him to begin.

For a moment he said nothing, listened to the house. Her delay in removing the security chain from the door led him to suspect that she was not alone. She had hurriedly consulted with someone and had obtained permission before letting Dan in. But the rest of the house was quiet and apparently deserted.

Half a dozen photographs were arranged on the coffee table, and all were of Willy Hoffritz. Or at least the three facing Dan were of Hoffritz, and he imagined that the others were too. It was the same unremarkable face, the same wideset eyes, the same slightly plump cheeks and piggish nose that Dan had seen in the driver's license photo in the wallet of one of the dead men in Studio City, the previous night.

He finally said, 'I'm sure you know that your husband is dead.'

'Willy, you mean?'

'Yes, Willy.'

'I know.'

I'd like to ask you some questions.'

'I'm sure I can't help you,' she said softly, meekly, looking at her hands.

'When was the last time you saw Willy?'

'More than a year ago.'

'Divorced?'

'Well…'

'Separated?'

'Yes, but not… in the way you mean.'

He wished that she would look at him. 'Then in what way do you mean it?'

She nervously shifted positions on the sofa. 'We were never… legally married.'

'No? But you have his name now.'

Still considering her hands, she nodded. 'Yes, he let me change mine.'

'You went to court, had your name changed to Hoffritz? When, why?'

'Two years ago. Because… because… you won't understand.'

'Try me.'

Regine didn't answer at once, and as Dan waited for her to form her explanation, he looked around the room. On the mantel above the white brick fireplace was another gallery of photographs of Willy Hoffritz: eight more.