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,

the gas, the car screams 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 smash

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

Bech catches up with him, Malory wheezing behind. “We can’t let them

gut. Klempner lashes out with a foot, planting his boot in Bech’s ribs. “Use a gun near her

his teeth,

boot in your

*****

Charlotte

it’s Kirstie. I’m trying

starts to reply, but I interrupt

A Mr

cocks

lawyers who

on earth could

say what it’s about,

with

“Yes, of course.”

“You don’t have

how I could. And if there

you like me to

want to sit

like to, yes, of

dark grey suit and a professional manner steps out.

“That’s right.”

dealt with my father when

you. I’m a bit baffled though. Surely everything

it was your estranged husband who informed us

just now, Charlotte. The conference room is

Master follows us in, to

“It’s fine,” I say.

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

“That’s right.”

can

I need to. But why should

now, could you please give me your signature as

that’s fine, Mrs Summerford. Now…” He takes out another

“Right… So?”

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

stomach clutches and my

his spectacles at me…” Your old school-teacher I understand…” He hesitates.

throat tightens. “Yes,