city. A mime plucked a coin from behind a little girlâs ear, while
puppeteers drew the small kids in droves. Families littered the streets,
carrying tired children with painted faces, cotton candy and tacky
souvenirs, tugging at heart-strings she tried to ignore.
She banished them quickly. She was
not a family kind of girl.
Instead her past mocked her. And the whisper of danger echoed in her
earâ¦.
I know your secrets. And you know
mine.
No. It was impossible. Sheâd never told anyone about her childhood.
Especially about that night.
And her motherâ¦. Surely she wouldnât have
confessed to anyone. That is, if sheâd survived herself.
Then again, her mother had done other
unspeakable things.
The washboard player took a break and an earthy-looking saxophone
player claimed his spot, adding his own jazz flavor to old favorites. She
glanced behind him, toward the edge of the street, and noticed a tall, bald
man holding a camera. Her fork clattered to the table. Was he photographing
her?
She craned her
neck to see more clearly and he lowered the camera. Shadows from the silvery
Spanish moss shrouded his face as if heâd been cocooned in a giant
spiderweb. Then he lifted his right hand and waved. Her breath caught in her
chest.
A series of
flashes flickered like fireflies against the growing darkness. Once. Twice.
A dozen times. She blinked and threw her hand over her forehead, spots
dancing before her eyes.
He was watching her. Taking
picturesâ¦.
For what
reason?
Panic and
anger mushroomed inside her and she stepped forward to go confront him, but
the waiter appeared with her check and blocked her path.
â Chere? You pay before you leave us? Qui? â
She sighed, removed her wallet and paid. But when
she glanced across the street, the man had completely disappeared, lost in
the darkness and the sins waging the city.
* *
*
H OWARD K EITH STOOD nursing
a Jax, a locally brewed beer, across the street, shielded by the exuberance
of the Mardi Gras festivities. Britta Berger had actually noticed
him.
Of course he
was at a distance and she couldnât see his face.
Howardâs right hand went to his prosthetic eyeball
and he blinked, feeling it slip out of place. He popped it out, dusted it
off, then slipped it back inside his eye pocket, blinking to create enough
moisture to force the fake eye to settle.
Of course, he tried not to handle the ocular
prosthetic in public, at least not in front of women. They tended to balk at
the empty eye socket.
Although even with his eye in place, they were put off by his
appearance. They never knew quite where to look, where to focus, so they
averted their gazes and studied his feet, his stomach, his hands, anything
but his face. And within seconds they rushed away, dismissing him as if he
was a freak.
He
would show them. Prove them wrong.
His fingers tightened on the camera. Even his
interest in photography had garnered laughter and disbelief. How could he
truly be an artist when he had no peripheral vision? No depth
perception?
The
camera compensated. Its powerful lens enabled him to capture the planes and
angles, the light and shadows, the depth he wanted, and record it in vivid
detail. And New Orleans certainly provided enough colorful characters,
scenery and entertainment to feed his camera-frenzied mind.
Then he could do with it as he
wished. Create masterpieces with his sketches, mold the faces into
sculptures if he chose. Give the subjects life forever. Paint the
eyes.
The eyes were
the windows to the soul.
Did Britta Berger have any idea that he had seen into hers? That he
had been watching her for months? That he knew her schedule. The food she
chose for breakfast. The way she liked her coffee. The fact that she enjoyed
a glass of wine on her patio at night before she retired. That she brushed
her short red hair at