by Greg Iles
Whats going on? I ask.
Danny saw something suspicious earlier on the FLIR, down past where the VIP boat turned around. He went back and checked it out. Its a big metal building, and its throwing off heat. Theres a couple of SUVs out front with men sitting behind the wheel like drivers waiting for people.
What do you think it is?
Tonights dogfight. I think they tried to pull a fast one on us. They knew we might be following the boat, so they handled transport a different way.
Where are they?
An island. About five miles downriver.
Five miles?
Yeah. If we dig in, we can make it in twenty or twenty-five minutes.
Wont the fight be over by then?
Not necessarily. A single dogfight can go two hours or more. But we don't have time to waste. Put the bat back, and lets move.
Damn it, Kelly, just shoot the dog. We can throw her in the river. Theyll never know.
Bullshit. Dogs aren't like cats to these people. They were punishing this dog, probably for losing a fight. They know she cant move, and when they come back, theyll expect to find her here, dead. Come on.
Kelly takes two backward steps, but he doesn't turn away. I feel the weight of his gaze upon me. Theres a pregnant tension between us, but I won't kill a helpless creature because a man is testing me. Stepping over the dogs rump with my left foot, I brace my foot against a tree root, then grip the bats taped handle with both hands and raise it over my right shoulder. The terrier lifts her head, trying to look back at me, but before her eyes find mine I swing the bat with all my strength, aiming for the neck, where the spine meets the skull. In the adrenaline-flushed second that the bat completes its arc, instinct tells me to shut my eyes, but I keep them open, knowing that to look away could result in more torture.
The bat doesn't ring on impact, but it jolts my arms and rattles my spine down to my pelvis as a wet crack like a boy stomping on a sodden limb echoes through the trees. The awful whistling has stopped. The dog lies motionless. I stumble back to the other tree, lean the bat against it, then march past Kelly toward the river.
As I wedge my knees through the cockpit of my kayak, he walks into the shallow water and looks down at me. You did the right thing. But I think thats enough for tonight. I should take it from here.
Thrusting my legs forward, I set my feet against the pedals, jerk the lanyard that flips down my rudder, and push away from the sandbar. I'll see you down there.
CHAPTER
32
Walt Garrity takes a sip of ice-cold Makers Mark and gazes around the vast gaming floor of the
Magnolia Queen.
Most casino boats are floating barns filled with slot machines and few table games, but the
Magnolia Queen
is magnificent, harkening back to the days of the floating palaces that cruised the river after the Civil War. The
Queen
has a three-hundred-foot salon built in the style known as steamboat Gothic, with Gothic arches, stained-glass skylights, gilt pendants, and eight massive chandeliers. There are hundreds of slot machines, yes, but there are also table games of every type.
Walt spent the first part of the evening putting on the same kind of show hed given on the
Zephyr
last night, making a spectacle of himself at the craps table and tipping everyone beyond all reason. Hes stayed with Nancy because since their scene in the RV theyve had a certain understanding about the sexual component of their relationship that he doesn't want to explain to a succession of prostitutes.
She stands a few feet away, losing wads of Penn Cages money at the blackjack table. Nancy doesn't seem to mind Walts frequent absences, so long as the flow of chips and alcohol continues uninterrupted. She probably assumes that a man of his age is making repeated trips to the restroom. In fact, Walt has conducted a casual but very thorough inspection of Golden Parachutes floating casino. This is the second time theyve been aboard the
Queen
today. They
first visited it after lunch, then spent some time on both the
Zephyr
and the
Evangeline.
Walt was glad to learn that the opulence of the
Magnolia Queen
would justify J. B. Gilchrists spending most of his time in Natchez aboard her, and not the lesser boats.
During his first visit, Walt twice saw Jonathan Sandsthe first time coming down the escalator from the upper deck where Walt now knows Sandss office is, and the second in the cashiers cage, talking to some employees. Despite his bespoke suit, Sands moved like an alert and graceful animal padding through a herd of less sentient creatures. Most of the gamblers on the boat blunder around like shoppers in a mall, their eyes on the slot machines, the tables, or the young women that seem so plentiful. Sandss eyes miss nothing. He actually made eye contact with Walt long enough to register that he was being watched as he descended the escalator. Even after seeing Sands only twice, Walt knows the Irishman will be a difficult man to outwit, much less capture.
Walt has paid some attention to the women as well. Several of the younger ones are Chinese, and from their behavior he guessed they were prostitutes. Nancy confirmed this when Walt asked about them and showed more than a little jealousy when she did. Apparently this perk of the
Magnolia Queen
is becoming well-known to out-of-town businessmen, who don't seem to mind that the girls speak little or no English. Walt understands the attraction. As a young soldier in 1953, he fell in love with a young Japanese girl during an extended R&R in Kobe, Japan. Most of the women hed met in Korea were prostitutes, but Kaeko was a nurse he met by chance in a restaurant. Walt had married his high school sweetheart before shipping out, and hed sworn to be faithful while he was overseas. Kaeko had tested his vow to the limit, not physically so much as by slowly and completely inhabiting his soul.
The Chinese girls on the
Magnolia Queen
look different from Kaeko, but their resemblance is enough to trigger a feeling in Walt that shames the twinge of lust he felt when Nancy bared her bottom in the van.
Why do you keep running off? Nancy asks. Youre tired of me, aren't you?
No, I'm just taking it all in. I've been on a lot of boats, but I haven't seen one like this in many a year.
Thus reassured, Nancy begins chattering mindlessly, but Walt suddenly becomes aware that several people are looking up over his shoulder. When he turns, he sees one of the most beautiful women he has ever encountered descending the escalator. She looks like a princess being carried down steps in a royal litter. She wears a jade green dress that lies close against her petite body, and her hair is long and straight. What strikes Walt, though, as it must have the other watchers, is the sense of self-possession radiated by the girl. Reaching behind him, he takes hold of Nancys cheap dress and turns her so that she can see the escalator.
Daddy, I'm
playing,
she protests. Hit, she tells the dealer. Stay.
Do you know who that is? Walt asks.
Who?
That girl on the escalator.
Nancy turns and stares for a few seconds. No, I never seen that one before. She looks like she thinks her you-know-what don't stink, though.
Nancys harsh voice intrudes on Walts reverie like the squawk of a crow startling a man contemplating a pristine dawn. He cannot imagine that the girl on the escalator could be for sale. If she were, the price for a night with her would have to be ten times that for a night with the Nancys so common on the boats. But Walt knows one thing: If her time is for sale, he intends to buy as much as he can afford.
CHAPTER
33
As we near the island, I start to ease my kayak along the sandy shore, but Kelly pulls alongside and points.
Farther down. That brushll keep the boats out of sight if a patrol comes down to the main bank.
I nod and wait for him to lead the way. I almost vomited during our sprint downriver from the first stop. Sweat is pouring off me, but not from the eighty-strokes-per-minute pace Kelly set. Not even from the shock of killing the dog, which was an act of mercy by any measure. What has shaken me to the core is that the glimpse of hell I saw under the trees was less than five miles from the place where I grew up. My meditation on the ironies of Tims heroic quest as Kelly and I paddled down from Natchez has filled me with shame, and any doubt about our purpose tonight has vanished. Standing among the chains and hooks and infernal machines, I felt as though Id stumbled into a death camp, one designed for animals rather than humans. The eerie whistling of the dog breathing through its skull will haunt me to my grave.
Penn? You with me?
Right behind you.
Kelly turns his rudder and knifes silently toward the shore. He pulls parallel to an overgrown bank that looks a little steep for my tastenot to mention snakythen braces his paddle and climbs out
of his cockpit. As I pull in behind him and follow suit, Kelly drags his boat behind some kudzu, then unloads his pack and takes out his night-vision scope.
Come on, he says, seizing the grab handle on my bow and dragging the Seda into the weeds.
I insert the earbud Kelly gave me for my Star Trekwhich I've discovered is on the blinkand follow Kelly up the bank. According to Danny McDavitt, no dogs or guards are on the river side of the towhead, only a couple of men by the building that he believes could be the site of tonights dogfight.
When I get up to the sandy hump where Kelly stands, I see that were in a line of trees beside a marshy field. Across the field, faint yellow light spills from a windowless metal building that looks like a small warehouse, and beyond this stands a black wall of trees.
Turn off your Star Trek, Kelly says.
Why?
Youre going to be with me, and we don't need any noise-pollution accidents. Also, we want Danny to airlift us off the river later, and your radio is our spare batteries.
Before I obey his order, he lifts his Star Trek and says, How we looking on sentries, Pave Low?
Pave Low
is McDavitts code name for tonight; its the model of helicopter he flew in the air force.
You got a couple of dogs prowling on the far side of the building, he answers. Pay attention.
What about the field?
Nothing. Some deer bedded down in the tree line about seventy meters to the north of you.
Standing in near darkness, its strange to know that Danny McDavitt is looking down on us with a Gods-eye view that sees every warm-blooded creature around us.
Hold up, McDavitt says in my ear. Do you see that?
Across the field, a horizontal bar of light appears, growing rapidly into a rectangle.
That's an overhead door, says Kelly. Shit!
As the rattling whine of a chain drive reaches us, a black SUV roars out of the building, followed by two more just like it. Their headlights flash on when they leave the spill from the open door.
Were too late? Kelly says in disbelief. What the ?
What do you want me to do? McDavitt asks. Cover you or go with the vehicles?
Go with the SUVs!
Ten-four.
Kelly winces, then looks longingly across the field. I'm tempted to go into that building and see what they left behind. He keys his Star Trek. Did they take the dogs with them?
Negative.
Okay, were bugging out. Well see you a couple miles downriver.
Through the trees I see three pairs of headlights cutting through the dark, moving north at gravel-road speed. Carl Simss voice replaces McDavitts.
I can take out those dogs for you, no problem.
Kelly considers this. No. We don't know that well get anything from the building. If you waste the dogs, theyll know we know about this place. Find out where the SUVs gothats all.
With a last look across the field, Kelly shakes his head. Far to my right, the headlights turn away, and I see taillights that remind me of those I saw on Cemetery Road the night Tim died.
All this work, I mutter, and its come to nothing.
Maybe not nothing. Well see what Danny turns up.
Should we just call the Highway Patrol and have them stopped on some pretext?
No, they're clean now, away from the scene. Honestly, I'll be surprised if the plates on those SUVs are traceable. But well find out who owns this land and see if we can learn something that way.
As Kelly turns away from the field, a pale shadow flashes across my sight from right to left. I fall backward as Kelly goes down with a thud. Scrambling to my feet, I see a huge white dog mauling his left arm, trying to reach his throat. I yank out my Star Trek and yell, Danny! Carl! We need help!
Kellys gun is still in his gear bag, and the bag is behind him. As I crab-walk toward it, my eyes on the attacking doga Bully Kutta, I see nowthe dog whips its head from side to side, trying to rip off Kellys blocking arm. Kellys struggling to get his right hand under the dogs belly. Yanking the gear bag clear of the fight, I struggle with
the zipper, but before I get it open, the Bully Kutta arches its back, its four paws galloping in midair as it tries to wrench away from Kelly, who is jerking a knife from the dogs scrotum to its rib cage. When I see a loop of intestine spill out in silence, I know that this dog too has had its vocal cords removed. As the animal rolls on the ground in its death throes, Kelly cinches his belt around his left biceps as a tourniquet.
Are you okay? I ask. I couldn't get the bag open!
Its okay. Find me a rock.
A rock?
A rock! Half an inch thickflat, if possible.
Three feet away I find a flat pebble smoothed round by the river. Kelly takes it and wedges it under his tourniquet, against the artery, I guess. Both sides of his forearm show puncture wounds, and the flesh is ripped near his inner elbow.
This isnt good, he says, staring at the wounds. I don't even know
A sound like running hoofbeats makes us whirl. This time the flying shadow is black, not white. Before I can even backpedal, I hear a bullwhip crack, and the wolf-size dog slides harmlessly to my feet, a quivering pile of muscle and bone. I leap backward, but Kelly just shakes his head and holds up his wired earpiece.
That dog knocked it out of my ear, he says.
What just happened? I ask, trying to get my breath. Did you shoot that dog?
Hell no. Kelly pulls his pistol from the gear bag and shows it to me. Carl shot it from the chopper.
Kelly inserts his earpiece and says, Thanks, buddy. You cut that kind of close.
Youre lucky I even saw the damn thing, Carl replies. I missed with my first shot. That was the second.
McDavitts voice cuts through the chatter. Whats the situation down there, Delta? You want me to follow the vehicles or do you need a hospital? My partner says it looks like a dog got to one of you.
Were fine, Kelly lies. We need to ID those vehicles.
I already got a license plate.
I want to know where they're headed.
Okay.
Are there any more of these monster dogs out there? That old Ranger sure was right. I didn't hear a damned thing till it hit me.
The two dogs by the building are still there. I don't know where those came from.
Kelly chuckles darkly. I think they're the deer you thought you saw bedded down. Theyre big, man.
Penn? Penn, are you there?
Kelly looks sharply at me as the new voice breaks into the conversation, but I recognize the tone immediately. Its m
y father.
I'm here, I tell him. Whats the matter?
Jenny was just run off the road in Bath. Her car flipped.
I swallow hard as an image of my sister lying dead beside an English motorway flashes through my mind. Is she alive?
Yes. She called me from the hospital, and I spoke to her doctor. Shes in mild shock, but she could easily have been killed.
When did it happen?
About an hour ago. Shed dropped the kids with a friend and was on her way to the university.
A wave of heat rushes over my face as guilt suffuses me. Where are you?
On my way to the safe house. Kelly insisted that we have an empty house within ten miles of the operation to review any evidence we collected without having to go to a place Sands could know about. Caitlins with me, adds my father.
Doc? Kelly cuts in. I know youre upset, but go easy on the names, okay?
Fuck that, says my father. I've had it with these sons of bitches.
How soon will you reach the house? Kelly asks, his eyes moving right and left like those of a man thinking fast.
Twenty minutes. And I want you there. I want everybody there.
Kelly looks down at the corpse of the white dog. His left hand is balled into a fist, probably against pain, but I sense that hes weighing the possibility of progress against the immediate crises. His entire posture communicates frustration; he looks as though hes about to kick the dead dog.
Pave Low? he says into the Star Trek.
Here.
Come get us.
Ten-four. You want me to set down right where you are?
No. We cant be sure that buildings empty. Well find a sandbar downstream. A mile, maybe.
I'll be flying right over the water, coming upstream. Out.
I key my Star Trek again. Dad, were on the way.
I heard. Dont waste any time.
As I shove the walkie-talkie into my pocket, the sound of my father angrily carving a Sunday roast makes me turn. But its a trick of the mind. Kelly has the Bully Kuttas head wedged between his knees, and hes sawing through the lower part of its neck like a man being paid for piecework, not by the hour.
