Hunter and Hunted: Horror Stories of Predators and Prey

By Wayne Kyle Spitzer

"Take the fatal shot," said Horseshoe. He must have laid down his rifle because I remember him helping to steady my own. "Easy now, you'll own this forever—" I stared the thing in the eye and squeezed the trigger.

It threw back its head, rising up. It gasped for breath, spitting more blood. It barked at the sky. Then it fell, head thumping against the deck. Its serpentine neck slumped. The rest of its blood spread over the boards and rolled around our boots and flowed between the planks.

I was the first to step forward, looking down at the thing through drifting smoke.

Its remaining eye seemed to look right back. I got down on my knees to look closer. The thing exhaled, causing the breathing holes at the top of its head, behind its eyes, to bubble. I waited for it to inhale, staring into its eye—I could see myself there as well as the others, could see the sky and the scattered clouds. The whole world seemed contained in that moist little ball. Then the eye rolled around white—it shrunk, drying, and the thing's neck constricted. And it died.

Horseshoe slapped my back, massaged my neck. "How's it feel, little buddy?"

But I didn't know what I felt. I could only stare at the eye, now empty.

• Language: English
• Publisher: Hobb's End Books
• Release date: Nov 7, 2018
• ISBN: 9781386025412

Wayne Kyle Spitzer

Wayne Kyle Spitzer (born July 15, 1966) is an American author and low-budget horror filmmaker from Spokane, Washington. He is the writer/director of the short horror film, Shadows in the Garden, as well as the author of Flashback, an SF/horror novel published in 1993. Spitzer's non-genre writing has appeared in subTerrain Magazine: Strong Words for a Polite Nation and Columbia: The Magazine of Northwest History. His recent fiction includes The Ferryman Pentalogy, consisting of Comes a Ferryman, The Tempter and the Taker, The Pierced Veil, Black Hole, White Fountain, and To the End of Ursathrax, as well as The X-Ray Rider Trilogy and a screen adaptation of Algernon Blackwood’s The Willows.

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Copyright © 1986, 1989 , 1992, 2000, 2004, 2010, 2017, 2018 Wayne Kyle Spitzer. All Rights Reserved. Published by Hobb’s End Books, a division of ACME Sprockets & Visions. Cover designs Copyright © 2018 Wayne Kyle Spitzer. Please direct all inquiries to: [e-mail]

All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. This book contains material protected under International and Federal Copyright Laws and Treaties. Any unauthorized reprint or use of this book is prohibited. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author. This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you are reading this book and did not purchase it, or it was not purchased for your use only, then please purchase your own copy. Thank you for respecting the hard work of this author.

I | Killer in the Looking Glass­

Shimmering vaguely beyond a curtain of rain and gloom, there is a skyline peppered with glowing embers. Above is a pale moon of terrifying proportions. The moon has twin orbs for eyes. They are rimmed in red and full of loathing.

They are glaring at me.

They are my own eyes, reflected in the rain-drizzled Plexiglass portal of the lifter. Interior illumination and exterior darkness have transformed the portal into a looking glass. A mirror.

I don't like mirrors. Mirrors hurt.

Instinctively, I lift my Recoil pistol and blast the portal away. Cool wind washes in and splashes against my face, tosses my hair. Rain tickles my skin.  Broken glass crunches underfoot as I step away from the opening. I feel much better now. Guns are like medicine, and are used as such often.

My Recoil is equipped with a silencer, of course, but the sound of shattering glass may have alerted my quarry above to my approach. It doesn't matter. Still, I ponder the possibility for a time, and conclude that he surely must have heard.

This is a good thing.

He'll have time to pray and collect his thoughts before I kill him. I am a murderer, but I am a thoughtful one.

His name is Tony Orchard, and I've been pursuing him for nearly two hours, ever since he rolled over me like a threshing machine at the notorious 76 Club where I 'd found him. I don't even know what he looks like. He spun on me so quickly in the dimly lit jazz cellar, I didn't have time to make out his facial features. The Pentagog doesn't give us photos, only names.

It's a sloppy system.

Mistakes happen. But not tonight. My doomed prey is Tony Orchard. He'd been the only person at the phones, where the bartender had gestured as the Recoil kissed his lips.

In a moment or two I’ll be at roof level, where I fully expect to see him standing at the edge of the Lorentz Tower and wishing with frantic desperation he had a parachute. Or a gun, like mine. To the best of my knowledge, he has neither. I would hope for the latter, so long as the gun is not a Recoil. I don' t get as sick when I kill an armed man. But I still get sick.

When you kill someone with a Recoil, it is physically impossible not to get sick.  It is a bloated, black, sadistic weapon; yet it fires not a single bullet. Instead, it lobs white hot globs of molten steel at the target. And if that target is a man, the globs punch through his skin with a shattering impact. Then they settle inside where they quickly—but not quickly enough for the victim—expand and solidify. And burn. Like white phosphorous. In short, the Recoil likes to turn men inside-out.

The Pentagog tells us, confidentially, that this serves as a fine deterrent. They say it leaves corpses that are TV Friendly— twisted, smoldering corpses they tell the public are the work of vigilantes. What they don't tell the public is that these so-called vigilantes are commissioned by the Pentagog. With tax dollars.

My name is Orin. I am a Grimheel and my function is simple. I kill. When the need arises, the cops call me, for I am the hand Law keeps hidden behind its back. I am the black gloved hand with the blued blade in its grip, and my workload is heavy. I work Chinatown and the ghettos. I work the corporate spiderwebs that canopy the