fearlessly turning his back on her. Mila saw him walking confidently towards the piano against the wall. Reaching the instrument, the man sat down on the stool and looked at the keyboard. He set both pistols down on the far left.
He raised his hands and, a moment later, let them fall back on the keys.
As Chopin’s Nocturne No. 20 in C sharp minor filled the room, Mila breathed hard, the tension spreading along the tendons and muscles of her neck. The music teacher’s fingers slipped lightly and gracefully over the keyboard. The sweetness of the notes made Mila feel like a spectator at this performance, hypnotized by it.
She struggled to remain clearheaded and let her bare heels slide backwards, slowly, until she was back in the corridor. She got her breath back, trying to calm her thumping heart. Then she started searching quickly around the rooms, pursued by the melody. She inspected each of them, one by one. A study. A bathroom. A larder.
Until she reached the closed door.
She pushed it with her shoulder. The wound in her thigh hurt, and she concentrated her weight on her deltoid.
The wood yielded.
The faint light from the corridor burst ahead of her into the room, whose windows appeared to have been walled up. Mila followed the glow into the darkness until she met two terrified, liquid eyes that returned her gaze. Pablito was there, on the bed, his legs drawn up against his thin chest. He was wearing only a pair of underpants and a sweater. He was trying to work out if there was anything he should be afraid of, if Mila was part of his nightmare or not. She said what she always said when she found a missing child.
“We’ve got to go.”
He nodded, stretched out his arms and clung to her. Mila kept an ear out for the music, which was still pursuing her. She was worried that the piece wouldn’t last long enough, and that there wasn’t enough time to get out of the house. A fresh anxiety took hold of her. She had put her own life and the hostage’s at risk. And now she was scared. Scared of making another mistake. Scared of stumbling at the last step, the one that would take her out of this horrible lair. Or discovering that the house would never let her go, that it would close in on her like a silken net, holding her prisoner forever.
But the door opened, and they were outside, in the pale but reassuring light of day.
When her heartbeats slowed down, and she was able to forget the gun that she had left in the house, and press Pablo to her, shielding him with her warm body to take all his fear away, the little boy leaned towards her ear and whispered…
“Isn’t she coming?”
Suddenly heavy, Mila’s feet were rooted to the ground. She swayed, but didn’t lose her balance.
Fueled by the strength of a terrifying realization, she asked, “Where is she?”
The little boy raised his arm and pointed to the second floor. The house watched them with its windows and laughed, mockingly, with the same gaping door that had let them go a moment before.
It was then that the fear fled entirely. Mila covered the last few meters that separated her from her car. She sat Pablo on the seat and told him, in the solemn tone of a promise, “I’ll be right back.”
Then she went back to let the house engulf her.
She found herself at the bottom of the stairs. She looked up, without knowing what she would find up there. She started climbing, gripping the banisters. Chopin’s notes went on undauntedly, following her exploration. Her feet sank into the steps, her hands stuck to the banisters which seemed to be trying to hold her back.
Suddenly the music stopped.
Mila froze, her senses alert. Then the dry report of a gunshot, a dull thud and the disjointed notes from the piano beneath the weight of the music teacher as he collapsed onto the keyboard. Mila quickened her pace as she continued on her way upstairs. She couldn’t be certain that it wasn’t another trick. The stairs curved round and the landing stretched