On July 23, 1981, Benny's mother, a white-haired old lady of eighty-four, left the Brooklyn Senior Citizen's Home where she lived to walk one block to the supermarket. On the way she had her purse snatched and, according to witnesses, struggled with the thief. She was stabbed seventeen times with a Boy Scout knife. When Benny arrived at the hospital emergency room, she was already dead, but he got a look-a long look-at her crimson, mutilated body before the doctor on duty hustled him out into the hall and shot him full of tranquilizers.

Benny was crippled psychologically in a way that he could not perfectly understand. After all, having reached the fifth decade of his life, he was well acquainted with grief: in the past ten years he had experienced the deaths of his father, his older brother, and three close friends. But murder is not just another form of grief: it is a metaphysical message like Fate knocking on the door at the beginning of Beethoven's Fifth. Benny found that the whole world had turned to very fragile glass. Every police siren, every newscast, every angry voice on the street reminded him that he belonged to a dangerously violent species. Benny Benedict realized that each minute, somewhere in the world, somebody was being bashed, beaten, stabbed, shot, slashed, gassed, poisoned, robbed of life.

He could not bear to be alone at night anymore.

The Grinning Sadist began to haunt him.

This horrifying image had been imprinted upon his neurons by various movies and TV melodramas of the sixties and seventies. The Grinning Sadist invaded your home, sometimes alone and sometimes with a horde of equally moronic and vicious cohorts. You were particularly susceptible if you were blind or a woman or all alone at night, but sometimes-as in The Dangerous Hours-he would come with his brutal crew in the bright daytime. His business was never simply burglary, although that was part of it; his real interest was in humiliation, terror, degradation, torture of the body and spirit. And he always grinned.