Carlo Druze was a stone killer.

Druze took the key out of his pocket, pulled it out by its string. He'd tied the string to a belt loop, so there'd be no chance he'd lose the key in the house. He reached out to the doorknob with his gloved left hand, tried it. Locked. The key opened it easily. He shut the door behind him and stood in the dark, listening. A scurrying? A mouse in the loft? The sound of the wind brushing over the shingles. He waited, listening.

The garage was silent. Nobody called out, no telephone rang. Druze tucked the key into his pants pocket and took a black four-inch milled-aluminum penlight of his jacket. With the light's narrow beam, he skirted the car and picked his way through the litter of the garage. Bekker had warned him of this: the woman was a gardener. The unused half of the garage was littered with shovels, rakes, hoes, garden trowels, red clay pots, both broken and whole, sacks of fertilizer and partial bales of peat moss. A power cultivator sat next to a lawn mower and a snow-blower. The place smelled half of earth and half of gasoline, a pungent, yeasty mixture that pulled him back to his childhood. Druze had grown up on a farm, poor, living in a trailer with a propane tank, closer to the chicken coop than the main house. He knew about kitchen gardens, old, oil-leaking machinery, and the stink of manure.

Druze walked easily through the breezeway, stepping precisely toward the lighted window in the door at the end of the passage. He was bulky but not fat. He was, in fact, an athlete: he could juggle, he could dance, he could balance on a rope; he could jump in the air and click his heels and land lightly enough that the audience could hear the click alone, like a spoken word. Midway through, he heard a voice and paused.

Druze had done another murder, years earlier. He'd told Bekker about it, over a beer. It wasn't a confession, simply a story. And now, so many years later, the killing seemed more like an accident than a murder. Even less than that: like a scene from a half-forgotten drive-in movie, a movie where you couldn't remember the end. A girl in a New York flophouse. A hooker maybe, a druggie for sure. She gave him some shit. Nobody cared, so he killed her. Almost as an experiment, to see if it would rouse some feeling in him. It hadn't.

He hadn't felt much when he'd killed the girl. He didn't feel much now, ghosting through the darkened breezeway, closing in. Tension, stage fright, but no distaste for the job.

Something wrong...

Stephanie Bekker's lover heard the strange thumping as he toweled himself after his shower. The sound was unnatural, violent, arrhythmic, but it never crossed his mind that Stephanie had been attacked, was dying there on the kitchen floor. She might be moving something, one of those heavy antique chairs maybe, or perhaps she couldn't get a jar open and was rapping the lid on a kitchen counter – he really didn't know what he thought.

It wasn't quite human, the thing that pulled itself across the kitchen floor. Not quite human – eyes gone, brain damaged, bleeding – but it was alive and it had a purpose: the telephone. There was no attacker, there was no lover, there was no time. There was only pain, the tile and, somewhere, the telephone.