Masters & Lovers Box Set Three

Mitch

She descends the stairs as if the devil is behind her…

He is…

She risks a look up; the briefest of glances. She can’t see him, but the clang of pursuit echoes above her.

And she runs…

Down two stories, three. Almost to ground level… and there… As she hits tarmac… a door close by… An emergency exit swings open, a body erupting out of it…

Frank.

He canons into her, grabbing her by the waist, swinging her around.

“Mitch…”

“Don’t stop.” She jerks a head up to where Klempner rattles down the steps after her. “Where’s your car?”

“Basement, but the keys…”

“Got them. Move.”

The pair swerve, u-turning back into the stairwell, barrelling downwards. From above, the sound of a slamming door; echoing boots on concrete

They burst into the parking lot.

“Where?” She peers into the low dark space.

“There.” He points, still running, snatching at her wrist, towing her along. From behind another crash from a swinging door. From off-side, Bech appears with Malory, both with guns in their hands.

The pair dash from one grey concrete pillar to another; stooping, running at a crouch, dodging between corridors of vehicles; vans, station wagons, saloons… Then, a sports car; shiny, bright red and low…

A crack behind her. A whistle…

Mitch shrieks and drops as the bullet skids over the door of the two-seater, taking paintwork with it…

Klempner’s voice, reverberating through the low space. “Put the fucking gun down. Hurt her and I’ll gut you.”

… but she keeps moving…

Frank is ahead of her. For a moment he skids, foot sliding over a patch of oil. Slipping, he falls but catches himself on the handle of the nearest door, then, “There… Keys!”

She tosses them across and twisting, he catches them one-handedly, pointing ahead to his own 4x4. Lights flash orange, beeping and the crunch of disengaging locks resound through the low-ceilinged space.

She tumbles into the passenger seat.

“Stay down.” Frank engages and with the screech of tortured rubber, the car careens down the ranks of vehicles.

Klempner cuts across, sprinting for the exit. Silhouetted against the daylight he stands,

down the aisle, up the ramp, adding to the black-burned stripes on the pitted concrete. Slamming his fist onto the horn, it shrieks defiance as the car rockets to the exit. At the last moment, Klempner hurls himself to one side as they

the tarmac, cursing, he runs after them, squinting into the sunshine but already the traffic has closed

with him, Malory wheezing behind. “We can’t

boot in Bech’s ribs. “Use a gun near her again and it will

hisses through his

Next time it’ll be more than my boot in your

*****

Charlotte

buzzes. “Francis, it’s Kirstie. I’m trying to find Charlotte. Is she up

reply, but I interrupt

Mr Maurio Vincenzo. He says he’s

Master cocks a

lawyers who

on earth

say what

needs to speak with you. Should I send

“Yes, of course.”

have anything

And if there was anything, I’m sure Chad

“Would you like me

want to

like to,

man wearing a dark grey suit and a professional manner steps out. He glances around, then to

“That’s right.”

outstretched. “Maurio Vincenzo. You dealt with my father

the hand, shake it. “Pleased to meet you. I’m a bit baffled though. Surely everything

hand. “This isn’t to do with your divorce, but another matter entirely. Although it was your estranged husband who informed us

conference room is free all

us in, to the sidelong glance

“It’s fine,” I say.

you are currently known as ‘Charlotte Summerford’, but my father dealt with one ‘Jennifer Conners’. I have only Mr

“That’s right.”

can prove

to. But why should I need

now, could you please give me

long-abandoned name. The lawyer compares it with some paper from his case, then looks up again, smiling, holding up the paper. “Your original petition for divorce,” he comments. “And that’s fine, Mrs Summerford. Now…” He takes out another document. “As to why I am here. As I mentioned, my firm

“Right… So?”

it. “So, I hold

my Master stirs in his

me…” Your old

tightens. “Yes, I knew