"They got Lalo," he said at last.
Teresa lay even more still. The light from the hall fell over the male shoulder in front of her mouth. She kissed it. "They nearly got me," he added.
He lay motionless, his face huddled into the hollow of her throat. He was speaking very softly, and his lips brushed her skin with every word. Slowly, she put her arms around him.
"Tell me about it, if you want to."
He shook his head a little, and Teresa didn't insist, because she knew she didn't need to. She knew that he'd talk when he felt calmer, if she maintained the same attitude and the same silence. And she was right. After a while, he began to talk. Not as though telling a story, but rather in short phrases, like images or memories. He was actually recalling it aloud, she realized. In all those days, this may have been the first time he had talked about it.
And so she learned, and so she imagined. And above all, she realized that life plays nasty tricks on people, and that those tricks mysteriously link up into chains with other nasty tricks that are played on other people, and that you might even be able to see yourself at the center of some absurd network of links, like a fly in a spider's web. And so she listened to a story that she knew beforehand, a story in which only the places and characters were different-and she decided that Sinaloa wasn't as far away as she had thought. She, too, saw the spotlight from the Moroccan patrol boat cutting through the night like cold sweat, the white flare in the air, Lalo Veiga's face with its mouth open, calling out in shock and fear-The Mows! The Mows! And there they were, with the stupid grinding of the starter, Lalo's silhouette in the spotlight as he ran back to the stern to free the mooring rope, the first shots, the muzzle flashes near the spotlight, the water kicked up by the gunfire, the zi-i-ing, zi-i-ing of the bullets flying past, and more muzzle flashes from the shore. And suddenly the engine roaring to life, the bow of the speedboat rising toward the stars, and more bullets, and Lalo's cry as he fell overboard-first one cry and then many-Santiago, wait, wait, Santiago, don't leave me, Santiago, Santiago, Santiago. And then the powerful rumble of the engine at full throttle, and the last glance over his shoulder to see Lalo falling behind in the water, framed in the cone of light from the patrol boat, one arm raised to grasp, futilely, at the speedboat as it ran, leapt, fled, its keel slapping the dark waters.
Teresa listened to all that while the lips of the naked, motionless man on top of her continued to brush the skin of her throat. He did not raise his face, did not look at her. And did not let her look at him.
The crowing of roosters. The chant of the muezzin. Once again, the dirty-gray hour, the undecided limbo between night and day. This time Santiago was not asleep, either; she could tell from his breathing that he was still awake. All that night she had felt him moving restlessly in the bed next to her, jerking when he managed to fall asleep for a few minutes. Teresa was lying on her back still, controlling her desire to get up or smoke a cigarette, her eyes open, looking first at the darkness of the ceiling and then at the gray stain that crept in from outside like some malignant slug. "I want you to come with me," he whispered, out of nowhere. She was absorbed in the beating of her own heart. Every morning, every dawn, it seemed slower and slower, like that of an animal hibernating. One day I'm going to die at this hour, she thought. That dirty light that always comes at this hour is going to kill me. "Yes," she said.
That same day, Teresa searched in her purse for the snapshot she had saved from Sinaloa: her with Guero Davila's protective arm around her, gazing out on the world in amazement, without a clue about what was lurking there. She contemplated the photo a good while, and then went to the bathroom and looked at herself in the mirror, still holding the snapshot. Comparing herself to herself. Then, carefully and very slowly, she tore it in two, kept the half that she was in, and lit a cigarette. With the same match she lit a corner of the other half of the photo and stood motionless, the cigarette between her fingers, watching the image sputter and burn away. Guero's smile was the last thing to disappear, and she told herself that was just like him-laughing at everything right up to the end, not giving jack shit. The same man in the flames of the fucking photo as in the flames of the Cessna.
5. What I planted up there in the sierra
The wait. The ocean dark, and millions of stars clotting the sky. The shadowy expanse infinite to the north, limited on the south by the black silhouette of the coastline. Everything around so still, the water looked like oil. And a light, barely perceptible offshore breeze that brushed the water and stirred tiny sparkles of phosphorescence. Sinister beauty, she concluded. That was the word for it. She was not good at expressing that sort of thing. It had taken her forty minutes. But anyway, that was what this seascape was-beautiful and sinister, and Teresa Mendoza was contemplating it in silence. Since the first of those forty minutes she had sat motionless, her lips never parting, and had felt the damp night air soak her cotton sweater and the legs of her jeans. Listening attentively to the sounds of both land and water. To the muffled murmur of the radio, channel 44-the volume so low she could hardly hear it. "Give a look," Santiago said.
He spoke in a barely audible whisper. The ocean, he had explained the first few times, transmits sounds and voices differently at different times. If the moment was right, you could hear things said a mile away. Same thing with lights, which was why the Phantom was running dark, camouflaged in the night, on the water, by the black matte paint that covered its fiberglass hull and the engine casing. And which was also why she was not smoking and the two of them were sitting silently, unspeaking, hardly moving. Waiting.
Teresa put her face into the rubber cone that hid the screen of the Furuno eight-mile radar. At each sweep of the antenna, the dark line of the Moroccan coast was redrawn with perfect neatness on the bottom of the screen, with the arch of the cove down, between Punta Cruces and Punta Al Marsa. The rest was clean-not a blip on the entire surface of the ocean. She hit the zoom button twice, widening the surveillance radius from one to four miles. With the next sweep, the coast appeared smaller and longer, and toward the east included the precise outline of Perejil Island. Everything clean there, too. No boats. Not even the false echo of a wave. Nothing.
"Esos cabrones"she heard Santiago mutter.
Waiting. That was part of the job, but in the time she had been on the job, going out to sea with Santiago, Teresa had learned that the bad part was not the waiting itself, but the things your imagination did while you waited. The sound of water against the rocks, the murmur of the wind that could be confused with a Moroccan patrol-the Moros, in Strait slang-or the Spanish Customs helicopter were not as unsettling or disquieting as that long calm during which your thoughts became your worst enemy. Even concrete danger, the hostile echo that suddenly appeared on the radar screen, the roar of the engine struggling to achieve speed and freedom and life, the fifty-knot run-for-it with a patrol boat glued to your stern, the slaps of the boat's keel on the water, the violent alternating discharges of adrenaline and fear were for her preferable to the uncertainty of the calm, the imagination. How terrible lucidity was. And how perverse the terrifying, coldly assessed possibilities that lurked in the unknown. That unending wait as you tried to pick up a signal from land, a contact on the radio, was like the gray dawns that still found her awake every morning, and that now had followed her onto the sea, with the night growing light in the east, and the cold, and the wetness that made the deck slippery and soaked her clothes, her hands, and her face. Chale. No fear is unbearable, she concluded, unless you've got time on your hands and a healthy imagination.