about any sort of menu.
Carrying a sack of groceries in each arm, she walked through the gathering darkness back to her apartment building. The night was chilly, and she regretted not wearing a coat. Through an open window, a woman called, "Time for dinner!" and two children playing kickball in the street turned and scampered for home.
By the time Cathy reached her building, she was shivering and her arms were aching from the weight of the groceries. She trudged up the steps and, balancing one sack on her hip, managed to pull out her keys and unlock the security door. Just as she swung through, she heard footsteps, then glimpsed a blur of movement rushing toward her from the side. She was swept through the doorway, into the building. A grocery bag tumbled from her arms, spilling apples across the floor. She stumbled forward, catching herself on the wood banister. The door slammed shut behind her.
She spun around, ready to fight off her attacker.
It was Victor Holland.
"You!" she whispered in amazement.
He didn't seem so sure of her identity. He was frantically searching her face, as though trying to confirm he had the right woman. "Cathy Weaver?"
"What do you think you're—"
"Where's your apartment?" he cut in.
"What?"
"We can't stand around out here."
"It's—it's upstairs—"
"Let's go." He reached for her arm but she pulled away.
"My groceries," she said, glancing down at the scattered apples.
He quickly scooped up the fruit, tossed it in one of the bags, and nudged her toward the stairs. "We don't have a lot of time."
Cathy allowed herself to be herded up the stairs and halfway down the hall before she stopped dead in her tracks. "Wait a minute. You tell me what this is all about, Mr. Holland, and you tell me right now or I don't move another step!"
"Give me your keys."
"You can't just—"
''Give me your keys!''
She stared at him, shocked by the command. Suddenly she realized that what she saw in his eyes was panic. They were the eyes of a hunted man.
Automatically she handed him her keys.
"Wait here," he said. "Let me check the apartment first."
She watched in bewilderment as he unlocked her door and cautiously eased his way inside. For a few moments she heard nothing. She pictured him moving through the flat, tried to estimate how many seconds each room would require for inspection. It was a small flat, so why was he taking so long?
Slowly she moved toward the doorway. Just as she reached it, his head popped out. She let out a little squeak of surprise. He barely caught the bag of groceries as it slipped from her grasp.
"It's okay," he said. "Come on inside."
The instant she stepped over the threshold, he had the door locked and bolted behind her. Then he quickly circled the living room, closing the drapes, locking windows.
"Are you going to tell me what's going on?" she asked, following him around the room.
"We're in trouble."
"You mean you're in trouble."
"No. I mean we. Both of us." He turned to her, his gaze clear and steady. "Do you have the film?"
"What are you talking about?" she asked, utterly confused by the sudden shift of conversation.
"A roll of film. Thirty-five millimeter. In a black plastic container. Do you have it?"
She didn't answer. But an image from that last night with Sarah had already taken shape in her mind: a roll of film on the kitchen counter. Film she'd thought belonged to her friend Hickey. Film she'd slipped into her bathrobe pocket and later into her purse. But she wasn't about to reveal any of this, not until she found out why he wanted it. The gaze she returned to him was purposefully blank and unreveal-ing.
Frustrated, he forced himself to take a deep breath, and started over. "That night you found me—on the highway— I had it in my pocket. It wasn't with me when I woke up in the hospital. I might have dropped it in your car."
"Why do you want this roll of film?"
"I need it. As evidence—"
"For what?"
"It would take too long to explain."
She
Carrying a sack of groceries in each arm, she walked through the gathering darkness back to her apartment building. The night was chilly, and she regretted not wearing a coat. Through an open window, a woman called, "Time for dinner!" and two children playing kickball in the street turned and scampered for home.
By the time Cathy reached her building, she was shivering and her arms were aching from the weight of the groceries. She trudged up the steps and, balancing one sack on her hip, managed to pull out her keys and unlock the security door. Just as she swung through, she heard footsteps, then glimpsed a blur of movement rushing toward her from the side. She was swept through the doorway, into the building. A grocery bag tumbled from her arms, spilling apples across the floor. She stumbled forward, catching herself on the wood banister. The door slammed shut behind her.
She spun around, ready to fight off her attacker.
It was Victor Holland.
"You!" she whispered in amazement.
He didn't seem so sure of her identity. He was frantically searching her face, as though trying to confirm he had the right woman. "Cathy Weaver?"
"What do you think you're—"
"Where's your apartment?" he cut in.
"What?"
"We can't stand around out here."
"It's—it's upstairs—"
"Let's go." He reached for her arm but she pulled away.
"My groceries," she said, glancing down at the scattered apples.
He quickly scooped up the fruit, tossed it in one of the bags, and nudged her toward the stairs. "We don't have a lot of time."
Cathy allowed herself to be herded up the stairs and halfway down the hall before she stopped dead in her tracks. "Wait a minute. You tell me what this is all about, Mr. Holland, and you tell me right now or I don't move another step!"
"Give me your keys."
"You can't just—"
''Give me your keys!''
She stared at him, shocked by the command. Suddenly she realized that what she saw in his eyes was panic. They were the eyes of a hunted man.
Automatically she handed him her keys.
"Wait here," he said. "Let me check the apartment first."
She watched in bewilderment as he unlocked her door and cautiously eased his way inside. For a few moments she heard nothing. She pictured him moving through the flat, tried to estimate how many seconds each room would require for inspection. It was a small flat, so why was he taking so long?
Slowly she moved toward the doorway. Just as she reached it, his head popped out. She let out a little squeak of surprise. He barely caught the bag of groceries as it slipped from her grasp.
"It's okay," he said. "Come on inside."
The instant she stepped over the threshold, he had the door locked and bolted behind her. Then he quickly circled the living room, closing the drapes, locking windows.
"Are you going to tell me what's going on?" she asked, following him around the room.
"We're in trouble."
"You mean you're in trouble."
"No. I mean we. Both of us." He turned to her, his gaze clear and steady. "Do you have the film?"
"What are you talking about?" she asked, utterly confused by the sudden shift of conversation.
"A roll of film. Thirty-five millimeter. In a black plastic container. Do you have it?"
She didn't answer. But an image from that last night with Sarah had already taken shape in her mind: a roll of film on the kitchen counter. Film she'd thought belonged to her friend Hickey. Film she'd slipped into her bathrobe pocket and later into her purse. But she wasn't about to reveal any of this, not until she found out why he wanted it. The gaze she returned to him was purposefully blank and unreveal-ing.
Frustrated, he forced himself to take a deep breath, and started over. "That night you found me—on the highway— I had it in my pocket. It wasn't with me when I woke up in the hospital. I might have dropped it in your car."
"Why do you want this roll of film?"
"I need it. As evidence—"
"For what?"
"It would take too long to explain."
She
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