Four Live Rounds - Crouch Blake - Страница 5

“What’d you do to my husband?” Laura asked, fighting tears.

The phone in her lap boasted two strong bars and very little battery.

She reached down, watched 9-1-1 appear on the screen as her fingers struggled to find the right buttons in the dark.

“What were you doing in my cruiser?” Martin asked. “Looking for this?”

He held up his second cell phone as Laura pressed talk.

Through the tiny speaker, the phone in her hand began to ring.

She said, “When did you know?”

“When you played the message.”

Martin turned into their driveway.

“I’m really sorry about all this, Laura. Just an honest to God…” He stomped the brake so hard that even at that slow rate of speed, Laura slammed into the partition. “You fucking bitch.”

Faintly: “Nine-one-one. Where is your emergency?”

Martin jammed the shifter into park, threw open the door.

“Oh, God, send someone to—”

The rear passenger door swung open and Martin dove in, Laura crushed under his weight, his hand cupped over her mouth, the phone ripped from her hand, and then the side of her head exploded, her vision jogged into a darkness that sparked with burning stars.

Laura thought, I’m conscious.

She felt the side of her face resting against the floor, and when she tried to raise her head, her skin momentarily adhered to the hardwood.

She sat up, opened her eyes, temples throbbing.

Four feet away, slumped on the floor beside the sink, Tim lay staring at her, eyes open and vacant, a black slit yawning under his chin.

And though she sat in her own kitchen in a pool of her husband’s blood, legs burgundy below the knees, hair matted into bloody dreads like some demon Rasta, she didn’t scream or even cry.

Her yellow teddy was slathered in gore, her left breast dangling out of a tear across the front. She held a knife in her left hand that she’d used to skin a kiwi for breakfast a thousand years ago, Tim’s .357 in her right.

The front door burst open, footsteps pounding through the foyer, male voices yelling, “Mooresville Police!”

She craned her neck, saw two cops arrive in the archway between the kitchen and the living room—a short man with a shaved head and her brother-in-law, wide-eyed and crying.

The short man said, “Go in the other room, Martin. You don’t need to see—”

“She’s got a gun!”

“Shit. Drop that right now!”

“Come on, Laura, please!”

“You wanna get shot?”

They were pointing their Glocks at her, screaming for her to drop the gun, and she was trying, but it had been super-glued to her hand, and she attempted to sling it across the room to break the bond, but even her pointer finger had been cemented to the trigger, the barrel of the .357 making a fleeting alignment on the policemen, and they would write in their reports that she was making her move, that deadly force had been the only option, both lawmen firing—Officer McCullar twice, Officer West four times—and when the judgment fell, both men were deemed to have acted reasonably, the hearts of the brass going out to West in particular, the man having found his little brother murdered and been forced to shoot the perpetrator, his own sister-in-law.

All things considered, a month of paid leave and weekly sessions with a therapist was the very least they could do.

An introduction to “Remaking”

“Remaking” was born in a coffee shop one afternoon. I was seated at a table toward the back, working at my laptop, when a conversation slipped into range. I looked up, saw a young boy of five or six sitting with a middle-aged man. I eavesdropped, and for some reason, something felt off. Like maybe that boy wasn’t supposed to be with that man. Was he kidnapped? A missing child? Then the boy called him “Dad” and a woman joined them. The familial vibe shone through, and that jolt of uncertainty passed. But the questions remained. What if the woman had not joined them? What if I still felt suspicious when the boy and the man got up to leave? Would I have followed them and tried to intervene? These thirty seconds of uncertainty were the origin of “Remaking,” although, as is often the case, when I began to write, I found the story held a few surprises for me, and that it wasn’t so simple or straightforward. But that was okay. In the end, those are the most fun to write.

remaking

Mitchell stared at the page in the notebook, covered in his messy scrawl, but he wasn’t reading. He’d seen them walk into the coffeehouse fifteen minutes prior, the man short, pudgy, and smoothshaven, the boy perhaps five or six and wearing a long-sleeved Oshkoshbgosh—red with blue stripes.

Now they sat two tables away.

The boy said, “I’m hungry.”

“We’ll get something in a little while.”

“How long is a little while?”

“Until I say.”

“When are you gonna—”

“Joel, do you mind?”

The little boy’s head dropped. The man stopped typing and looked up from his laptop.

“I’m sorry. Tell you what. Give me five minutes so I can finish this email, and we’ll go eat breakfast.”

Mitchell sipped his espresso, snow falling beyond the storefront windows into this mountain hamlet of eight hundred souls, Miles Davis squealing through the speakers—one of the low-key numbers off Kind of Blue.

Mitchell trailed them down the frosted sidewalk.

One block up, they crossed the street and disappeared into a diner. Having already eaten in that very establishment two hours ago, he installed himself on a bench where he could see the boy and the man sitting at a table by the front window.

Mitchell fished the cell out of his jacket and opened the phone, scrolling through ancient numbers as the snow collected in his hair.

He pressed talk.

Two rings, then, “Mitch? Oh my God, where are you?”

He made no answer.

“Look, I’m at the office, getting ready for a big meeting. I can’t do this right now, but will you answer if I call you back? Please?”

Mitchell closed the phone and shut his eyes.

They emerged from the diner an hour later.

Mitchell brushed the inch of snow off his pants and stood, shivering. He crossed the street and followed the boy and the man up the sidewalk, passing a candy shop, a grocery, a depressing bar masquerading as an old west saloon.

They left the sidewalk after another block and walked up the driveway to the Antlers Motel, disappeared into 113, the middle in a single-story row of nine rooms. The tarp stretched over the small swimming pool sagged with snow. In an alcove between the rooms and the office, vending machines hummed against the hush of the storm.

Ten minutes of brisk walking returned Mitchell to his motel, the Box Canyon Lodge. He climbed into his burgundy Jetta, cranked the engine.

“Just for tonight?”

“Yes.”

“That’ll be $69.78 with tax.”

Mitchell handed the woman his credit card.

Behind the front desk, a row of Hummels stood in perfect formation atop a black and white television airing “The Price is Right.”

Mitchell signed the receipt. “Could I have 112 or 114?”

The old woman stubbed out her cigarette in a glass ashtray and reached for the key cabinet.

Mitchell pressed his ear to the wood paneling.

A television blared through the thin wall.

His cell phone vibrated—Lisa calling again.

Flipped it open.

“Mitch? You don’t have to say anything. Please just listen—”

He powered off the phone and continued writing in the notebook.