All That Remains - Cornwell Patricia. Страница 27

"What impressions did you get?" I inquired.

Staring off, she thought hard for a moment. "I can't remember all of them. That's the thing. It's the same when I give readings. People come back to me later and tell me about something I said and what's happened since. I don't always remember what I've said until I'm' reminded."

"Do you remember anything you said to Mrs. Harvey?"

Marino wanted to know, and he sounded disappointed.

"When she showed me Debbie's picture, I knew right away the girl was dead."

"What about the boyfriend?" Marino asked.

"I saw his picture in the newspaper and knew he was dead. I knew both of them were dead."

"So you been reading about these cases in the newspaper," Marino then said.

"No," Hilda answered. "I don't take the newspaper. But I saw the boy's picture because Mrs. Harvey had clipped it out to show me. She didn't have a photograph of him, only of her daughter, you see."

"You mind explaining how you knew they was dead?"

"It was something I felt. An impression I got when I touched their pictures."

Reaching into his back pocket and pulling out his wallet, Marino said, "If I give you a picture of someone, can you do the same thing? Give me your impressions?"

"I'll try," she said as he handed her a snapshot.

Closing her eyes, she rubbed her fingertips over the photograph in slow circles. This went on for at least a minute before she spoke again. "I'm getting guilt. Now, I don't know if it's because this woman was feeling guilty when the picture was taken, or if it's because she's feeling that way now. But that's coming in real strong. Conflict, guilt. Back and forth. She's made up her mind one minute, then doubting herself the next. Back and forth."

"Is she alive?"

Marino asked, clearing his throat.

"I feel that she is alive," Hilda replied, still rubbing.

"I'm also getting the impression of a hospital. Something medical. Now I don't know if this means that she's sick or if someone close to her is. But something medical is involved, a concern. Or maybe it will be involved at some future point."

"Anything else?" Marino asked.

She shut her eyes again and rubbed the photograph a little longer. "A lot of conflict," she repeated. "It's as if something's past but it's hard for her to let it go. Pain. And yet she feels she has no choice. That's all that's coming to me."

She looked up at Marino.

When he retrieved the photograph, his face was red. Returning the wallet to his pocket without saying a word, he unzipped his briefcase and got out a microcassette tape recorder and a manila envelope containing a series of retrospective photographs that began at the logging road in New Kent County and ended in the woods where Deborah Harvey's and Fred Cheney's bodies had been found. Hilda spread them out on the coffee table and began rubbing her fingers over each one. For a very long time she said nothing, eyes closed as the telephone continued to ring in the other room. Each time the, machine intervened, and she did not seem to notice. I was deciding that her skills were in more demand than those of any physician.

"I'm picking up fear," she began talking rapidly. "Now, I don't know if it's because someone was feeling fear when these pictures were taken, or if it's because someone was feeling fear in these places at some earlier time. But fear."

She nodded, eyes still shut. "I'm definitely picking it up with each picture. All of them. Very strong fear."

Like the blind, Hilda moved her fingers from photograph to photograph, reading something that seemed as tangible to her as the features of a person's face.

"I feel death here," she went on, touching three different photographs. "I feel that strong."

They were photographs of the clearing where the bodies were found. "But I don't feel it here."

Her fingers moved back to photographs of the logging road and a section of woods where I had walked when being led to the clearing in the rain.

I glanced over at Marino. He was leaning forward on the couch, elbows on his knees, his eyes fixed on Hilda. So far, she wasn't telling us anything dramatic. Neither Marino nor I had ever assumed that Deborah and Fred had been murdered on the logging road, but in the clearing where their bodies were found.

"I see a man," Hilda went on. "Light-complected. He's not real tall. Not short. Medium height and slender. But not skinny. Now, I don't know who it is, but since nothing is coming to me strongly, I'll have to assume it was someone who had an encounter with the couple. I'm picking up friendliness. I'm hearing laughter. It's like he was, you know, friendly with the couple. Maybe they met him somewhere, and I can't tell you why I'm thinking this, but I'm feeling as if they were laughing with him at some point. Trusted him."

Marino spoke. "Can you see anything else about him? About the way he looked?"

She continued rubbing the photographs. "I'm seeing darkness. It's possible he has a dark beard or something dark over part of his face. Maybe he's dressed in dark clothing. But I'm definitely picking him up in connection with the couple and with the place where the pictures were taken."

Opening her eyes, she stared up at the ceiling. "I'm feeling that the first meeting was a friendly encounter. Nothing to make them worry. But then there's fear. It's so strong in this place, the woods."

"What else?"

Marino was so intense, the veins were standing out in his neck. If he leaned forward another inch, he was going to fall off the couch.

"Two things," she said. "They may not mean anything but they're coming to me. I have a sense of another place that's not in these pictures, and I'm feeling this in connection with the girl. She might have been taken somewhere or gone somewhere. Now this place could be close by. Maybe it's not. I don't know, but I'm getting a sense of crowdedness, of things grabbing. Of panic, a lot of noise and motion. Nothing about these impressions is good. And then there is something lost. I'm seeing this as something metal that has to do with war. I'm not getting anything more about that except I don't feel anything bad - I'm not picking up that the object itself is harmful."

"Who lost whatever this metal thing is?" Marino inquired.

"I have a sense that this is a person who is still alive. I'm not getting an image, but I feel this is a man. He perceives the item as lost versus discarded and is not real worried about it, but there is some concern. As if whatever he has lost enters his mind now and then."

She fell silent as the telephone rang again.

I asked, "Did you mention any of this to Pat Harvey last fall?"

"When she wanted to see me," Hilda replied, "the bodies had not been found. I didn't have these pictures."

"Then you did not get any of these same impressions."

She thought hard. "We went to the rest stop and she led me right over to where the Jeep was found. I stood there for a while. I remember there was a knife."

"What knife?" Marino asked.

"I saw a knife."

"What kind of knife?" he asked, and I recalled that Gail, the dog handler, had borrowed Marino's Swiss army knife when opening the Jeep's doors.

"A long knife," Hilda said. "Like a hunting knife or maybe some kind of military knife. It seems there was something about the handle. Black and rubbery, maybe, with one of those blades I associate with cutting through hard things like wood."

"I'm not sure I understand," I said, even though I had a good idea what she meant. I did not want to lead her.

"With teeth. Like a saw. I guess serrated is what I'm trying to say," she replied.

"This is what came into your mind when you was standing out there at the rest stop?"

Marino asked, staring at her in disbelief.

"I did not feel anything that was frightening," she said.