Sibs. Part 39

Kara couldn't stand the noise any longer.

G.o.d, that's awful. Can you say you actually enjoy that caterwauling?

After Jill had gone off to bed, Gabor had seated Kara's body in the recliner on the heavily draped third floor. With a remote electronic control he had started up the CD player. Seconds later, operatic voices began blasting through the room. He tilted the chair back, closed her eyes, and Kara found herself enclosed in darkness, listening to a woman screeching in Italian. She had to admit, though, that the sound system was impressive. She could almost believe that she was in an opera house listening to a live performance. But that did not make her enjoy what she was being forced to hear.

"That is not caterwauling. That is Mirlella Freni singing Verdi's Ernani Ernani at La Scala. It's beautiful." at La Scala. It's beautiful."

It's awful. But not as awful as how you have perverted your ability.

Her eyes opened.

"Perverted?" And to what use, pray tell, do you think I should have put my talent? The good of humanity? Don't make me laugh."

Kara had pulled herself from her depression. Having Jill around helped. She had set her mind to work on getting free of Gabor. It wouldn't be easy-he was so much more experienced at this-and it might even be impossible. But she had to try. And to have any hope of success, she had to know more about what made him tick.

Why not? Think what you might be able to do for coma patients. Maybe you could wake them up. Or schizophrenics. Maybe you could put their minds back on track.

"Perhaps. Perhaps not."

But you've never even tried. You have this power and you could have contributed something, but instead you're nothing but a-a voluptuary!

"Voluptuary. I like that word. You have an excellent vocabulary, Kara. But you have not thought your scenario all the way through. Here I am, the hero of the medical world, s.n.a.t.c.hing lives back from the depths of coma and psychosis, the wonderful Gabor Gati! But what happens when they all go home for the night? Where is Gabor? Gabor is in a crib in a diaper being fed gruel by a nurse. He can't watch films on TV, he can't choose the music he'd like to hear, he can't even speak to carry on a conversation. And where are the friends and company and conversation Gabor might want? They're somewhere else, and glad to be there, glad they don't have to look at that blind, shrunken, deformed, ugly little geek they use during the day!"

That's the way you you see yourself. Aren't you engaging in what you psychiatrists call 'projection see yourself. Aren't you engaging in what you psychiatrists call 'projection?'

"Very good! It is exactly that. But don't try to psychoa.n.a.lyze me, my dear. I'm way ahead of you. Do you think I have no perspective on myself? I do. I know I am egocentric, and even narcissistic in my own way. And I might even be considered a sociopath. But I exist outside the terminology created for the common h.o.m.o sapiens h.o.m.o sapiens. The developmental defects that so grossly altered my body altered my brain as well. I'm different from you. I'm different from everybody. Your rules don't apply to me. I am a species apart."

Hitler probably thought the same way.

"Perhaps I am rationalizing. But I'm not a megalomaniac. I've no plans to sneak about, impregnating women with my sperm in order to start a super race of my kind."

It probably wouldn't work anyway.

"I agree. But if I were the B-movie power-crazed monster you're implying I am, I'd certainly give it a try. But I'm not interested in ruling the world. I don't care care about the world. I care about Gabor. I came into this world trapped in a blind, mute, deformed body incapable of experiencing anything beyond the most rudimentary sensations. But I found a compensatory power within me that allows me to experience all manner of sensation via the bodies of others. So I use that power. It would be a sin, after all, to waste it." about the world. I care about Gabor. I came into this world trapped in a blind, mute, deformed body incapable of experiencing anything beyond the most rudimentary sensations. But I found a compensatory power within me that allows me to experience all manner of sensation via the bodies of others. So I use that power. It would be a sin, after all, to waste it."

Did your power come with a gift for moral contortions as well, or did you develop that on your own?

"I don't explain myself, Kara. Even to myself."

Maybe you- Kara felt her body start as something tapped her shoulder.

It was Jill, tired, rubbing her eyes.

"I can't sleep with all that noise," she said above the blare of the opera.

The sound ebbed as Kara's thumb pressed the volume control.

"And you didn't kiss me good night."

Had Kara's muscles been responsive to her moods, they would have bunched into cramped knots. The thought of Gabor kissing Jill...

"Sorry, my dear. Let's get you back to bed."

"And how come you keep calling me 'my dear?' "

"Because you are are my dear." my dear."

"What do you usually call her?" "Honey." Or "Bug."

"How quaint."

He led her down to the bedroom and did a decent job of tucking her back in.

"Don't forget my kiss!"

Kara's body bent and her lips kissed Jill on the cheek.

"And a hug!"

Kara felt Jill's arms go around her neck and squeeze.

"I love you, Mom!"

Had she eyes and tears, Kara would have wept. That hug and those words were meant for her her and Gabor was stealing them. She raged blindly. and Gabor was stealing them. She raged blindly.

I'll get us out of this, Jill! Someway, somehow, I'll get free of him!

A calm, monstrously self-a.s.sured voice replied.

"No you won't."

February 27 8:22 A.M.

"Where you going with that food, Mom?"

You freeze for a moment. You were doing what you always do: preparing breakfast for your body in the bas.e.m.e.nt. You reached into the pantry for some junior foods to take downstairs, but you forgot the child.

Up to this point, the morning has gone quite well. Jill is a charming child, bright, intelligent, good-natured. She stirs some lost, long-dormant part of you. A child. Progeny. The future. You realize with a pang of loss that you will never have a child of your own, that an entire wing of the Gati family has reached its terminus in you. That perspective has escaped you until now. The tragedy of it makes you grieve.

But now the child has seen the baby food and wants to know about it.

You tell her, 'I'm going to take some of it downstairs. To make more room up here."

"How come it's here?"

"Someone with a baby probably lived here before we moved in."

"Why'd they leave it?"

"I don't know," you say, unable to keep a snap out of your voice. "Stop asking so many questions."

The child starts as if she'd been slapped.

Don't talk to her like that!

"I'll speak to her the way I choose. Doesn't she ever stop asking questions?"

Never. How else is a child to learn? How do you think you learned?

"By stealing. I never had a childhood of my own. I had to siphon it off from others."

Asking's better than stealing.

"I had no choice."

Awww. I'll get some violin music for you I'll get some violin music for you.

You don't know how long you can tolerate sharing a body with this woman. Her contempt for you is a cold damp wind on the back of your neck. Her rage at having control of her body torn from her is a palpable thing, a growing weight on your shoulders. Her sense of self is too strong, too deeply seated to allow you a comfortable coexistence.

If only you had known. So many people live their lives with no sense of direction, no firm sense of self, easily influenced by the latest fas.h.i.+on, allowing themselves to be blown hither and thither. Life would be so much easier now if Kara had been one of those.

But what alternative do you have? You are stuck with her until other arrangements can be made.

"Want me to help you bring some of those downstairs?" Jill asks, her wide brown eyes looking up at you, unsure of what she's done wrong, anxious to make amends.

But the last thing you need is this child trailing behind you down to the bas.e.m.e.nt. You cannot let her learn that you live down there.

"No, thank you, dear," you say as gently as you can. "I can handle this myself."

"Okay," she says.

You pull a spoon from the drawer.

"What's that for?"

Another question. You bite down on your tongue.

"Nothing, dear."

You start toward the bas.e.m.e.nt but she's right behind you.

"You stay up here, dear. I'll only be a few minutes."

"I don't want to."

"Go up to the top floor and turn on the television. You can watch cartoons on the giant screen."

"I don't want to. I don't like being up there alone. I want to come with you."

"Well, you can't."

Her lower lip starts to tremble. Tears begin to rim her dark eyes.

"Mommy, I'm scared up here!"

You try, but you can't keep the edge off your voice.

"That's too bad. You'd better get used to it because you're going to have to stay here alone lots of times, starting now."

You step into the stairwell and close the door behind you. There's a latch inside the door. You snap it home.

As you hurry down the stairs, you hear her terrified cries as she bangs on the door.

You beast! You b.a.s.t.a.r.d! How could you- "Enough! My patience is frayed. I can see that your child is going to be a terrible problem. Something will have to be done about her."

Kara's voice is suddenly conciliatory.

She'll be all right. She's just got to get used to this place. And when she gets into a school around here she'll be out most of the day. She's no trouble, really.

"I'm sure everything will work out," you say.

But privately you know that the present situation is intolerable. Despite whatever precautions you may take, it seems inevitable that the child will discover the reason for your multiple daily trips into the bas.e.m.e.nt. And what about those times when you want to leave Kara's body and re-enter your own for brief periods, or return to some of the other bodies that you've used in the past? What will you do then? You will have to leave Kara in the padded cell in the office. What are you going to do with the child-hire a babysitter?

No, this will never do. You need complete privacy in your house. Three's a crowd, as the old adage goes. You must be rid of Jill. Perhaps a private school in another state, a sleepaway academy during the school year and summer camp the rest of the time. Plenty of parents do it. That might work. And then again it might not. You need a solution you can be a.s.sured of, a permanent solution.

And suddenly you know.

Your fondness for the idea grows as you spoon the cereal into your mouth. Because it might solve the problem with Kara as well.

And it can happen toady. You've already planned an 'accident'-a fatal one-for Detective Harris. Why not involve the child in that same accident? A tragic pair of deaths. And as a possible lagniappe-the breaking of Kara Wade. Witnessing the deaths of her child and her lover, watching her own hands cause those deaths and being utterly impotent to do anything to save them will break her will, crush her spirit. It has to.

And after the accident, life within Kara Wade will be much more pleasant, and far more secure. Not only will there be no police detective sniffing around her, but the child will be gone. You will have your house all to yourself again. And Kara Wade will have learned to be a compliant, submissive hostess.

Life will be good again.

You glance at your watch. Detective Harris will be here soon. You'd better get upstairs and set the stage.

Jill opened the front door for him. Rob's throat tightened at the sight of her. His voice became husky.

"Good-morning, Miss Wade. How are you today?"

"All right, I guess," she said and turned away.

Rob caught her arm and gently pulled her around to face him.