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.

across, sprinting for the exit. Silhouetted against the

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

after them, squinting into the sunshine but already the

with him, Malory wheezing behind. “We can’t let them go. I’ll find

foot, planting his boot in Bech’s ribs. “Use a gun near her again and it will be the last

through his

it’ll be more than my boot in your guts. Now get

*****

Charlotte

it’s Kirstie. I’m trying

starts to reply, but I interrupt her. “Yes, I’m here,

for you. A Mr Maurio Vincenzo. He says he’s

cocks a

who handled my

earth could

he say what

to speak with you. Should I

“Yes, of course.”

don’t have anything outstanding from your divorce

how I could. And if there was anything, I’m sure

sucks in his cheeks. “Would you like me to sit

want to sit

like to, yes, of

and a professional manner steps out. He

“That’s right.”

outstretched. “Maurio Vincenzo. You dealt with my

a

holds up a hand. “This isn’t to do with your divorce, but another matter entirely. Although it was your estranged husband who informed us where we could find you. Is there

now, Charlotte. The conference room is free all morning.” She gestures across. “If you’ll go through, Mr

Master follows us in, to the sidelong glance of the

“It’s fine,” I say.

as ‘Charlotte Summerford’, but my father dealt with one ‘Jennifer Conners’. I have only Mr Bennett’s word that you are the

“That’s right.”

you can prove

need to. But

give me your signature as

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

“Right… So?”

with it. “So, I hold here the will deposited with

my Master stirs in

the rim of his spectacles at me…” Your old school-teacher I understand…” He hesitates. “As

“Yes, I knew