“Give me the car keys.”
He broods up at her. The constriction of his voice betrays the effort with which he is attempting to keep pain at bay. “How about getting me an ambulance?”
“You’ll live. Strip your shirt off. Use it for a tourniquet. Sooner or later somebody’ll stop and give you a hand.”
“CB radio—the truck.”
“I don’t know how to use it.”
“Jesus God almighty you fucking bitch, get me some help. You’ve smashed my fucking kneecap, you know that? God knows if I’ll ever walk straight again.”
She’s very calm. “Throw me the keys, Bert, or I’ll shoot the other knee.” She works the pump action of the shotgun, one-handed, tossing the empty paper cartridge out and seating the next one. Aren’t you glad you taught the little woman how to shoot skeet, you great macho gun handler?
She points it at his knee. The one that isn’t shredded. “The keys.”
He bends his head back in an arching spasm of agony. Unmoved, chilled, she taps his knee—the good one—with the muzzle of the shotgun.
He cries out. She watches him dig clumsily in a trouser pocket. With a vestige of defiance he throws the keys away and then his head sags against the pavement.
She picks up the keys. He lies panting with his eyes half shut and unfocused. She hesitates—but there’s nothing left to say to him. She walks away.
“Madeleine …” A husky croak. “For the love of God …”
She settles the baby in the station wagon and shuts the door and starts the air conditioning. Then she twists around. “Doug?”
“Still here.” Lying on his side, fetal, he tries to smile.
“My fault. I used you. I’ll try to make it up.…”
“You shoot the son of a bitch?”
“In the knee. He’ll survive I’m sure. I just don’t figure to make it easy for him.”
“That’s all right. Long as we whupped him.”
“Where’s the nearest hospital?”
“No idea. Don’t worry about me. No real harm ever comes to the iron duke.”
73 It’s another hot one in Van Nuys and she’s been sitting in this damn car altogether too long but on Ellen’s account let’s not take chances. It’s wise to check everything out.
That limo’s been sitting over there in front of the air freight depot for twenty minutes with the guy reading the magazine at the wheel and maybe his chauffeur’s uniform is a fake.
There’s nobody else hanging around looking like surveillance. But you can’t afford to be lax. Bert may be in the jail ward, betrayed by the confessions of his former employees, but he may still have people looking for his kid. And this is a risky place to be, a risky thing to do: suppose they’ve traced the Cessna to the field where they rented it in Plattsburgh? Suppose they’ve found some connection between there and here? Suppose the pestilential Graeme Goldsmith has found some way to trace you in this direction?
They wheel a crate outside on a hand truck. The chauffeur gets out and opens the deck; the two workmen lift the crate into the trunk. The chauffeur talks briefly with them and gets back into the limousine; she watches him drive away while the workmen go back into the depot.
Now then. Any other possibilities? Somebody over there in the coffee shop watching through the window?
Come on. Caution’s one thing. Paranoia’s another. Like the man said, you’ve got to learn to trust. Trust people and trust your instincts.
Given the vagaries of the postal service I wonder when that $30,000 will arrive at Doug’s house in Birmingham. I expect his wife will be a little surprised. She’s already asked a thousand questions, you know. While he heals he’ll tell her the truth and it’ll sound outlandishly far-fetched.
Well Mrs. Hershey will just have to trust him, won’t she.
She opens the window and switches off the engine and the air conditioner. Then she gathers up the baby.
“Christ, you’re getting to weigh a ton, you know that?”
Ellen replies with a sequence of cryptic noises.
She carries the baby across the field and hesitates outside the door. The rumble of his voice penetrates through from inside; she can’t make out the words but the timbre is as precisely identifiable as a telegrapher’s fist. She pushes inside. He has his profile to her and his feet up against the wall; he’s on the phone but he looks around to see who just came in and all the planes and angles of his face sort themselves into a whole new arrangement as if a kaleidoscope had been turned.
“I’ll call you back.” He hangs up. Drops his feet off the wall and swivels to face her and thinks about getting up out of the chair.
For a long interval he sits that way, poised, staring at her, and it’s hard to credit but there are tears welling in Charlie’s eyes.
She says, “I want you to meet my daughter.”
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This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.
copyright © 1984 by Brian Garfield
cover design by Mumtaz Mustafa
This edition published in 2011 by MysteriousPress.com/Open Road Integrated Media
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