Dean Koontz - Watchers

“I’m delighted to hear all went well. We’ve the highest regard for your Workmanship. Now remember this,” the contact said. He recited a seven-digit telephone number.

Surprised, Vince repeated it.

The contact said, “It’s one of the public phones at Fashion Island. In the open-air promenade near Robinson’s Department Store. Can you be there in fifteen minutes?”

“Sure,” Vince said. “Ten.”

“I’ll call in fifteen with the details.”

Vince hung up and walked back to the van, whistling. Being sent to another public telephone to receive “the details” could mean only one thing: they had a job for him already, two in one day!

Later, after the cake was baked and iced, Nora retreated to her bedroom at the southwest corner of the second floor.

When Violet Devon had been alive, this had been Nora’s sanctuary in spite of the lack of a lock on the door. Like all the rooms in the large house, it had been crammed with heavy furniture, as if the place served as a warehouse instead of a home. It had been dreary in all other details as well. Nevertheless, when finished with her chores, or when dismissed after one of her aunt’s interminable lectures, Nora had fled to her bedroom, where she escaped into books or vivid daydreams.

Violet inevitably checked on her niece without warning, creeping soundlessly along the hall, suddenly throwing open the unlockable door, entering with the hope of catching Nora in a forbidden pastime or practice. These unannounced inspections had been frequent during Nora’s childhood and adolescence, dwindling in number thereafter, though they had continued through the final weeks of Violet Devon’s life, when Nora had been a grown woman of twenty-nine. Because Violet had favored dark dresses, had worn her hair in a tight bun, and had gone without a trace of makeup on her pale, sharp-featured face, she had often looked less like a woman than like a man, a stern monk in coarse penitential robes, prowling the corridors of a bleak medieval retreat to police the behavior of fellow monastics.

If caught daydreaming or napping, Nora was severely reprimanded and punished with onerous chores. Her aunt did not condone laziness.

Books were permitted — if Violet had first approved of them — because, for one thing, books were educational. Besides, as Violet often said, “Plain, homely women like you and me will never lead a glamorous life, never go to exotic places. So books have a special value to us. We can experience most everything vicariously, through books. This isn’t bad. Living through books is even better than having friends and knowing. men.”

With the assistance of a pliable family doctor, Violet had kept Nora out of public school on the pretense of poor health. She had been educated at home, so books were her only school as well.

In addition to having read thousands of books by the age of thirty, Nora had become a self-taught artist in oils, acrylics, watercolors, pencil. Drawing and painting were activities of which Aunt Violet approved. Art was a solitary pursuit that took Nora’s mind off the world beyond the house and helped her avoid contact with people who would inevitably reject, hurt, and disappoint her.

One corner of Nora’s room had been furnished with a drawing board, an easel, and a cabinet for supplies. Space for her miniature studio was created by pushing other pieces of furniture together, not by removing anything, and the effect was claustrophobic.

Many times over the years, especially at night but even in the middle of the day, Nora had been overcome by a feeling that the floor of the bedroom was going to collapse under all the furniture, that she was going to crash down into the chamber below, where she would be crushed to death beneath her own massive four-poster bed. When that fear overwhelmed her, she had fled onto the rear lawn, where she sat in the open air, hugging herself and shuddering. She’d been twenty-five before she realized that her anxiety attacks arose not only from the overfurnished rooms and dark decor of the house but from the domineering presence of her aunt.

On a Saturday morning four months ago, eight months after Violet Devon’s death, Nora had abruptly been seized by an acute need for change and had frantically reordered her bedroom-studio. She carried and dragged out all the smaller pieces of furniture, distributing them evenly through the other five crowded chambers on the second floor. Some of the heavier things had to be dismantled and taken away in sections, but finally she succeeded in eliminating everything but the four-poster bed, one nightstand, a single armchair, her drawing board and stool, the supply cabinet, and the easel, which was all she needed. Then she stripped off the wallpaper.

Throughout that dizzying weekend, she’d felt as if the revolution had come, as if her life would never be the same. But by the time she had redone her bedroom, the spirit of rebellion had evaporated, and she had left the rest of the house untouched.

Now this one place, at least, was bright, even cheerful. The walls were painted the palest yellow. The drapes were gone, and in their place were Levolor blinds that matched the paint. She had rolled up the dreary carpet and had polished the beautiful oak floor.

More than ever, this was her sanctuary. Without fail, upon passing through the door and seeing what she had wrought, her spirits lifted and she found some surcease from her troubles.

After her frightening encounter with Streck, Nora was soothed, as always, by the bright room. She sat at the drawing board and began a pencil sketch, a Preliminary study for an oil painting that she had been contemplating for Some time. Initially, her hands shook, and she had to pause repeatedly to regain sufficient control to continue drawing, but in time her fear abated.

She. was even able to think about Streck as she worked and to try to imagine just how far he might have gone if she had not managed to maneuver him out of the house. Recently, Nora had wondered if Violet Devon’s pessimistic view of the outside world and of all other people was accurate; though it was the primary view that Nora, herself, had been taught, she had the nagging suspicion that it might be twisted, even sick. But now she had encountered Art Streck, and he seemed to be ample proof of Violet’s contentions, proof that interacting too much with the outside world was dangerous.

But after a while, when her sketch was half finished, Nora began to think that she had misinterpreted everything Streck had said and done. Surely he could not have been making sexual advances toward her. Not toward her.

She was, after all, quite undesirable. Plain. Homely. Perhaps even ugly. Nora knew this was true because, regardless of Violet’s faults, the old woman had some virtues, one of which was a refusal to mince words. Nora was unattractive, drab, not a woman who could expect to be held, kissed, cherished. This was a fact of life that Aunt Violet made her understand at an early age.

Although his personality was repellent, Streck was a physically attractive man, one who could have his choice of pretty women. It was ridiculous to assume he would be interested in a drudge like her.

Nora still wore the clothes that her aunt had bought for her — dark, shapeless dresses and skirts and blouses similar to those that Violet had worn. Brighter and more feminine dresses would only call attention to her bony, graceless body and to the characterless and uncomely lines of her face.

But why had Streck said that she was pretty?

Oh, well, that was easily explained. He was making fun of her, perhaps. Or, more likely, he was being polite, kind.

The more she thought about it, the more Nora believed that she had misjudged the poor man. At thirty, she was already a nervous old maid, as fear-ridden as she was lonely.