Dean Koontz: The Moonlit Mind: A Tale of Suspense

The man says to Crispin, “What a handsome dog,” and the woman says, “Your sister tasted so sweet.”

The encounter is by chance, but you can be killed by chance as easily as by someone’s design.

The dog runs, the boy runs, the man snares the boy by his jacket, the leash jerks from the boy’s hand, and the boy falls …

Before Crispin went on the run …

He lives with his younger brother, Harley, and his little sister, Mirabell. They share a house with their mother, Clarette.

Each child has a different father because many men are drawn to their mother.

Clarette is so beautiful that one of her in-between boyfriends — in between the rich ones — tells Crispin, “Kid, your mom she’s like the magical princess in some fairy-tale cartoon movie, how she can charm kings and princes, even make animals and trees and flowers swoon and sing for her. But I never did see a cartoon princess as smokin’ hot as she is.”

At that time Crispin is seven years old. He understands the princes, animals, trees, and flowers part. Years will pass before he knows what “smokin’ hot” means.

Their mother is drawn to many men, not because their beauty matches hers but because of what they are able to do for her. She says that she has expensive tastes and that her “little bastards” are her ticket to the good life.

Each of their fathers is a man of great prominence for whom the existence of a little bastard would not only be an embarrassment but also a wrecking ball that might smash apart his marriage and lead to an expensive divorce.

In return for specifying on each birth certificate that the father is unknown, Clarette receives a one-time cash payment of considerable size and a smaller monthly stipend. The children live well, though not nearly as well as their mother, because she spends far more freely on herself than on them.

One night, she enjoys too much lemon vodka and cocaine. She insists that eight-year-old Crispin cuddle with her in an armchair.

He would rather be anywhere else but in her too-clingy arms and within range of her exotic breath. When she is in this condition, her embrace seems spidery, and for all her expressions of affection, he expects that something terrible will happen to him.

She tells him then that he ought to be grateful that she is so smart, so cunning, and so tough. Other women who make their living by giving birth to little bastards are likely sooner or later to have a well-planned accident or to become a victim of a supposedly random act of violence. Rich men do not like to be played for fools.

“But I’m too quick and bright and clever for them, Crispie. No one will take your mommy from you. I’ll always be here. Always and always.”

Time passes and change comes.…

The change is named Giles Gregorio. He makes the other rich men in Clarette’s life seem like paupers. His wealth is inherited and so immense as to be almost immeasurable.

Giles has palatial residences all over the world. In this city, he lives atop Shadow Hill, directly across the street from the fabled Pendleton. His mansion — called Theron Hall — is not as large as the Pendleton, but large enough: fifty-two rooms, eighteen baths, and a maze of hallways.

When Giles intends to be in town, twenty servants precede him by a week, readying the great house. Among them are one of his personal chefs, his junior butler, and his junior valet.

Two weeks after Clarette meets the multibillionaire, cuddling again with her oldest son, once more under the spell of lemon vodka, she speaks of a glorious future. “I’ve changed my business model, Crispie. No more little bastards. No more, no more. Mommy’s going to be richer than she ever dreamed of being.”

Just a week later, three weeks after Giles met Clarette, they are married in a private ceremony so exclusive that even her three children are not in attendance. In fact, watching arrivals from a high window, Crispin thinks that fewer than twenty people come to Theron Hall on the day and that more servants than guests must be witness to the wedding.

Crispin is nine then, Harley seven, Mirabell six.

He and his younger siblings are confined to a second-floor drawing room for the duration of the celebration, where they are showered with fabulous new toys, fed all their favorite foods, and watched over by Nanny Sayo, who is Japanese. Petite and pretty, with a soft, musical voice, Nanny Sayo is quick to laugh, but any test of her authority is met with the displeasure of a stern disciplinarian.

Following the wedding, all the many servants at Theron Hall are respectful of the children and even treat them with affection. But it seems to Crispin that when these people smile, the expression in their eyes does not match the curve of their lips.

Yet life is good. Oh, it is grand.

The children eat only what they like.

They go to bed only when they wish.

Each rises to his or her own clock.

They are schooled at home by a tutor, Mr. Mordred. He is deeply knowledgeable in all subjects. He is most entertaining and can make any topic interesting.

Mr. Mordred is a jolly man, not exactly fat but well-rounded, and sometimes he tells little Mirabell that she looks good enough to eat, which always makes her giggle.

Perhaps the best thing about Mr. Mordred is that he doesn’t press them hard on their lessons. He allows them to break frequently for play, in which he often leads them.

When they are mischievous, he sometimes encourages them. When they are in a lazy mood, Mr. Mordred says that any child who isn’t lazy must not be a child at all but instead a dwarf masquerading as one.

On his left temple, Mr. Mordred has a black birthmark shaped exactly like a horsefly. When any of the children puts a finger to this oddity, Mr. Mordred makes a buzzing sound.

Now and then he pretends to mistake this image of a fly for the real thing. He twitches as if annoyed and slaps at the imagined insect with the flat of his hand, which always makes the children burst into laughter.

If Crispin were burdened with such a birthmark, he would be self-conscious about it, even embarrassed. He admires Mr. Mordred for finding reason to be amused even by this disfigurement.

One day, three weeks after the wedding, Crispin and Harley and Mirabell spend a couple of hours sprawled on the library floor with bundles of new children’s picture books and lots of cool comic books that Giles has bought for them. When at last they become bored, Nanny Sayo retrieves the scattered reading material to stack it on a table.

At one point, Crispin turns and finds himself standing over the woman as she kneels to gather the discarded comics. He is looking down the scooped neck of her blouse, where he sees on the curve of one breast a birthmark identical to that on Mr. Mordred’s forehead.

As if she is aware of his attention, Nanny Sayo begins to raise her head. Crispin turns away, flustered, before their eyes can meet.

Although he is only nine, he is embarrassed to have been staring at her breasts, the sight of which has affected him in some new and disturbing way that he can’t define. His face burns. His heart knocks so loud he thinks Nanny Sayo must hear it.

Later, in bed, he wonders how Mr. Mordred and Nanny Sayo can have the same birthmark. Maybe it’s something contagious, like a head cold or the flu.

He feels sorry for Nanny Sayo, though at least her disfigurement is in a less visible place than Mr. Mordred’s.

That night he dreams of Nanny Sayo dancing naked in firelight. She has several horsefly birthmarks, not just one, and they are not fixed. They crawl across her skin.

Crispin wakes in the morning with a fever, plagued by nausea and aching muscles.

His mother says that he’s just caught a virus. Antibiotics won’t help him cast off a virus. He must remain in bed a day or two until it passes. She sees no need to call a doctor.