Vampire Dancing by J. K. Gray Page B

grip on the handle and looked at my old man. He was still lurching around with his hand stuck to his neck in a feeble attempt to stem the flow of blood. He was making choking sounds and blood was coming out of his mouth.
    Mom reached out cautiously to take the knife from me. “It's not too late for this to be okay.”
    Dad fell against a bookshelf, then into the lamp. The whole lot was sent crashing to the floor. The moth went fluttering overhead.
    Mom touched the hand I was holding the knife with. “Don't let him ruin the rest of our lives.”
    I felt tears forming, and fought to hold them back.
    “Honey ...”
    She took the knife.
    I didn't resist her.
    “It's over now,” she said.
    Emotional floodgates opened, and years of torment mixed with an overwhelming feeling of relief swept from me in one huge gush.
    Mom dropped the knife and threw her arms around me.
    “It's okay now,” she said. “Let it out.”
    And that's exactly what I did. Until I had no more to give.
    Over in the corner, Dad lay dead. Judging by his fixed gaze, his final image had been of me and Mom, finally free of his reign of terror. But there was something else in his eyes; something perversely proud; like I had finally lived up to his expectations after all these years; had finally become the kind of son he'd always wanted.
    I looked away from him and continued to hold Mom tightly, and promised to myself I'd never be like Robert Wiley.
    No matter what .
     

EIGHT
     
     
     
     
    01:42 am ...
     
    Amber and Michael have discovered that passing between cars is possible, and are in the process of doing just that when the lights go out.
    Holding open the end door, Amber turns to Michael. “Something's not right. Can't you feel it?”
    Michael looks at Amber with a blank expression.
    “God, you're hopeless,” she says.
    “Not entirely,” he replies, grinning.
    Amber sighs, then passes into the next car.
    A concerned looking older woman wearing a mid-length woolen mauve coat approaches at the sight of the couple's entry. She's clutching a brown leather bag like it's made out of gold or some other precious metal.
    “The lights have went out,” she says. “And the train's not moving at the right speed.”
    “It's probably just an electrical problem,” Michael replies.
    Amber makes her way past the gray-haired senior citizen and continues along the aisle.
    “Maybe we should wait for the lights to come back before going any further,” Michael says.
    “We don't know they're coming back,” Amber replies. She opens the end door. “You coming?”
    “Take me with you,” the concerned woman says, and clutches Michael's arm.
    Michael looks from Amber to the woman. “I don't think that's necessary. Best you remain seated until you reach your stop.”
    He pats the woman's hand.
    The woman refuses to let go. She has a rabbit-in-the-headlights look about her. Michael wonders what her story is; why a woman her age is alone on a train at this time of night - or morning. He looks to Amber for guidance.
    Amber shakes her head and exits the car.
    “Lady,” Michael says, “I think it might be dangerous up ahead. It's best-”
    “ Danger ?” the woman says, her eyes wide with alarm.
    “Well- no. I mean, yes, but ... can't you just stay here?”
    The woman digs her nails deeper into Michael's arm. “I'm scared.”
    “Okay, come with me. But stay behind. If anything happens-”
    “ Happens ?”
    “You know what, nothing's going to happen.” He pats the woman's hand again. “Just stay close.”
     
    *
     
    The train passes Spring Street station without stopping. It's a sight which leads to a sharp increase in Amber's unease. Not bothering to wait for Michael to catch up, she moves quickly to the end of the aisle and exits through the door.
    In the next car, a girl is sitting with her hands folded on her lap. She's wearing a denim jacket on top of a white cotton blouse, and a long, brightly colored flared skirt. She's all alone and staring ahead,