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.

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

down the aisle, up the ramp, adding to the black-burned stripes on the pitted concrete. Slamming his fist onto the horn,

cursing, he runs after them, squinting into the sunshine but already the

him, Malory wheezing behind.

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

his teeth, winded; no words, but

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

*****

Charlotte

it’s Kirstie. I’m trying to

but I interrupt her. “Yes, I’m here,

Mr Maurio Vincenzo. He says he’s from Vincenzo and

cocks a

who handled

on earth could they

what

to speak with you. Should I send him

“Yes, of course.”

don’t have

there was

in his cheeks. “Would you like me to

want to sit in

like to, yes,

Ssshhhh… open and a man wearing a dark grey suit and a professional manner steps

“That’s right.”

dealt with my father when he

I’m a bit baffled

your divorce, but another matter entirely. Although it was your estranged husband who informed us where we could find you.

now, Charlotte. The conference room

Master follows us in, to the

“It’s fine,” I say.

before and I must establish your identity. I understand you are currently known as ‘Charlotte Summerford’, but my father dealt with one ‘Jennifer Conners’. I have only Mr Bennett’s word that you are the same person. You can confirm that you are the woman

“That’s right.”

you can

need to. But why should I need

please give me

then looks up again, smiling, holding up the paper. “Your original petition for divorce,” he comments. “And that’s fine, Mrs Summerford. Now…” He

“Right… So?”

up the document, punctuating his words with it. “So, I hold

clutches and my Master stirs in

at me…” Your old school-teacher I understand…” He hesitates. “As you probably know, he died

tightens. “Yes,