other room."
"Where's Kalika?"
He nods to the door Eric was about to open. "In there. I told her to remain silent."
"And she listened to you?"
Ray speaks seriously. "She always listens to me."
"Lucky you." I nod to Eric. "Where are we going to put him?"
"In the spare room. Well tie him up and gag him, and take only as much blood as our daughter needs."
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"That might be more than he can give," I say, stroking Eric's hair.
"We'll have to worry about that later." Ray pauses. "How should we withdraw the blood?"
"We need needles, syringes, tourniquets, tubing, flasks. I have them at my house in Beverly Hills." I stand, wiping Eric's blood from my hands. "I'll go now."
Ray stops me. "That house might be watched, you said."
I don't like being stopped. "I'll have to risk it I'm not breaking into a drugstore to get this stuff."
"I want you to help me tie him up before you leave."
"Can't you tie him up? The sooner I leave, the sooner I can get back." I glance at the bedroom door. My daughter hasn't made a peep. "Kalika must be starving by now."
"It won't take us long if we work together. Then I can go with you to the other house."
"No," I say. "I'm going alone."
Ray hesitates. "Fine. But I think it's better this guy sees only one of us."
"Why?"
"Isn't it obvious? If he can identify me, it doubles our chances of being caught."
I stare at Ray. "You really have changed."
He shrugs. "Maybe it was Eddie's blood."
"Maybe." I hold his eye. "All right, I'll deal with him, like I deal with everything else. As long as we both understand that we're not pushing Eric beyond his limit. This boy is not going to die."
Ray nods his head, but his eyes do not seem to agree.
8
Before entering my Beverly Hills house, I search the street and the surrounding houses for signs of anyone watching. The FBI's methods are not unfamiliar to me. The house appears unwatched. Once inside, I gather the supplies I need to turn Eric into a serious anemic. But before leaving I stop to call Seymour. I haven't spoken to him since I said good night in the hotel by the beach. Even the note I left said little.
Sorry, Seymour. Got to go. You know this is for the best. Love, Sita.
"Hello?" he says.
"It's me."
He takes a long time to answer. His voice comes out harsh. "What do you want?"
I speak with sincerity. "Just to hear your voice, Seymour. I miss you."
"Yeah, right."
"I do. I really do."
"Where are you?"
"I can't tell you."
"I have to go."
"No! Wait! You know why I can't tell you."
"No, I don't know why. I thought you were my friend. Friends don't leave each other in
Create PDF files without this message by purchasing novaPDF printer (http://www.novapdf.com) the middle of the night." He lowers his voice and there is pain in it. "Why did you leave?"
I hesitate. I didn't plan to tell him.
"Ray's come back."
Seymour is astounded. "That's impossible."
"It's true. We're living together." I add, "We've got a daughter."
"Sita, what kind of fool do you think I am? You haven't had time to have a daughter."
My voice cracks. "I know that. But this one came rather fast."
He hears that I'm serious. "Tell me everything that's happened since I last saw you."
So I tell him because I need someone to talk to. As always he listens patiently, closely, and I have to wonder what insights he will provide when I'm finished. He's so smart—he always has something interesting to say about my numerous predicaments. Yet the next words out of his mouth shock me.
"Why do you assume this guy is Ray?" he asks when I finish.
I have to laugh, although I almost choke on it.
"What kind of question is that? Of course it's Ray. I know it's Ray. Who else could it be?"
"I don't know who else it could be. But how do you know it's Ray? Remember, he died."
"Because he looks like Ray. He acts like Ray. He knows everything Ray knew. He can't be an impostor."
Seymour speaks