Dead Sleep (41 page)

“You're curious about what action is like, aren't you?”

“I guess so. I mean, being on the SWAT team and all. You wonder about the real thing.”

“Robin's story is a textbook lesson. Combat is total confusion from the first shot. Combat vets all say the same thing. Remember your training, and don't try to be a hero. That's pretty much the bible, right there.”

“I just want to do my job,” Wendy says. “Not mess up some stupid way and get someone hurt or killed.”

“You won't. Your love life is more complicated than your job ever will be.”

She laughs ruefully. “You're probably right about that. Well, anyway, I know why John is attracted to you, and it's okay. You guys don't have to hide from me or anything.”

I wonder if I could ever summon the selfless goodness that seems to flow from this girl. Probably not. I touch her forearm. “Thanks, Wendy. And I haven't slept with him yet, if you're wondering.”

“I wasn't asking that,” she says quickly. Then she bites her lip. “Though maybe I was wondering. A little.”

We both laugh, and suddenly the day does not seem quite so gray, or the rain so cold. I wave to the guitarist as we pass him, and then we're at the artillery park and Jackson Square. Just across Decatur wait the tourist carriages, their horses standing wearily in the rain, with a Lucky Dog man lifting wieners from his steaming cart nearby. On St. Ann, the card tables of tarot readers line the cement, and sidewalk artists advertise their services with portraits of Barbra, the Duke, the Beatles, and Jerry Garcia.

“The rain's not stopping,” Wendy says. “Maybe we should call for a car.”

“In a minute.” I look to our left, where wide wooden steps march right down into the swollen river. “Let's go down to the old Jax Brewery. Get some coffee.”

Wendy nods, but I can see it goes against her instincts. I pick up the pace, fighting my anger at John for holding back on me. The rain has thinned out the walkway traffic, but two men are approaching, a young one with greasy jeans and an unkempt beard, and a few yards behind him a man wearing khakis and a teal Ralph Lau ren button-down. Wendy tenses, watching the bearded man, then glances over her shoulder as he passes. While she watches him, the man in the Polo shirt brings up his right arm, and polished nickel gleams in the rain.

I shout a warning to Wendy, and before the sound fades she's in front of me, her hand flying under her jacket to the pistol holstered there.

A gunshot explodes over the levee, and something hot and wet stings my face. Wendy seems to stutter in place, then falls backward onto the bricks with a flat thump like a sack of sand. My white blouse is spattered with a fine red mist. Wendy's blood. Screams erupt from the parking lot, and I sense more than see people diving to the ground.

The man in the Polo charges me, his gun pointed at my chest, and grabs my arm with his free hand.
“Move your ass!”
he shouts, dragging me toward streetcar tracks.
“Move!”

My eyes are locked on Wendy, who lies on her back, eyes open and fixed on the sky, a large bubble of blood on her lips. As I stare, my captor pulls up his gun and shoots her again, this time in the side. She doesn't make a sound.

I try to yank my arm free, but he swings the gun in a quick savage arc against my forehead, and the world blanks out for a moment.

A jumble of thoughts: his tremendous strength; his lack of hesitation in shooting Wendy, as John predicted; the realization that this is no random attack, that he shot Wendy to get to me, that he wants me alive; that this is
him
—the kidnapper, the UNSUB, the motherfucker who took my sister. There's no hunting him anymore. He's hunting me. And he
has
me.

As he drags me toward the streetcar tracks, I notice one man in the parking lot who's not lying prone on the gravel. Both his arms are leveled in our direction, and I'm starting to duck when I recognize John Kaiser.

“Jordan!” he cries. “Drop!”

As I start to fall, my captor jerks me in front of him like a shield. John moves left, angling for a shot, but I'm in his way. The man holding me throws up his free arm and fires three times quickly in John's direction. John spins, trying to avoid the shots, but his spin continues to the ground and he does not get up.

“Dead cop,”
says the voice in my ear. The barrel of his pistol touches my temple.
“Move.”

He wants me in the parking lot. I can't let him get me into a car. My mind flashes onto the gun John gave me, but it's lying useless in its holster in my rented Mustang, parked at the FBI office. The only weapon I have is the knowledge that the man holding me doesn't want to kill me here. He has a much more exotic fate in mind.

I fire my elbow into his rib cage, earning a crack and a howl of agony. His arm goes limp for an instant, and in that instant I wrench myself loose and run back toward Wendy, an image of her gun in my head. But as I near her I realize she's lying on top of the still-holstered weapon. If I stop to turn her over, he'll catch me. There's no cover here but the river, so I lunge left, toward the wooden steps that lead down to the water. As I reach the top step, a shot rings out behind me.

“Don't make me kill you!”

I'm silhouetted on the edge of the steps like a duck in an arcade, and I can't possibly reach the water in one leap. I'm going to have to wait for a better chance.

As I turn back, he marches up with the gun, his dark eyes blazing. He looks a little older than I am, with a shock of salt-and-pepper hair and a deeply lined face. I've never seen his face, but I recognize the dark light in his eyes, from places I prefer not to remember.

“We're going to my car,” he says. “If you fight, I'll shoot you in the spine. You'll go limp as a rag doll, and I'll have to carry you, but you'll still be nice and warm between the legs and you'll still make a pretty picture for the man.”

The icy conviction in his voice paralyzes me, wiping out every emotion but terror. Seizing my arm, he pulls me back across the walkway, his eyes full of purpose.

Thirty yards away, John lies on his stomach, struggling in vain to reach his knees. When we pass him, my attacker will fire a bullet into him, just as he did with Wendy. My limbs are heavy with the inevitability of nightmares—

The scream stops me cold, and in some sliver of a second I know it came from Wendy Travis's throat. Twisting my neck, I see her lying on her stomach, propped on her elbows, her pistol clenched in both hands, her eyes shining brightly through the blood and rain. An arm whips around me to aim at her, but I bat it aside and throw myself as far away as I can.

Orange flame bursts from the barrel of Wendy's gun.

An explosive grunt sounds beside me. My attacker staggers, then pulls his gun back up. Wendy's gun spits again. He bellows in rage and pain, then charges her with blind fury. Wendy fires again but misses, and he starts shooting, round after round. He misses four times, but then Wendy's head snaps back and I'm screaming in denial, knowing in my bones that she's gone.

He turns back to me, but he's wounded and can't move well. Blood has matted the teal Polo to his chest and shoulder. From twenty yards away, he raises his gun and points it at me. My eyes are full of tears, and I can see that he's abandoned his plan. He means to kill me now.

The gun wavers, steadies, then flies skyward as thunder booms behind me and ricochets back from the far shore. I whirl to find John kneeling at the edge of the levee, his .40-caliber automatic leveled with absolute stillness.

“Hit the bricks!” he yells.

I dive onto the walkway, and John empties his clip, blast after blast roaring across the river, the echoes of his first shots smashing into the reports of the later ones. When I look up, my attacker is gone.

As the last shot fades, I crawl across the bricks to Wendy, hoping it's not too late. The hair at the back of her head is a mass of blood and brain matter, and my heart knots against the truth. The first thing I learned in a military field hospital is that visible brain matter means the casualty won't make it.

“Get down!” John shouts. “Find cover!”

I kiss Wendy's hair, then get slowly to my feet and walk to the crest of the wooden steps and look down. The man in the Polo is doubled over near the bottom step, gasping for breath and trying to hang on to a wooden chain post. As I watch, my heart empty of pity, his hand slips off the post and he tumbles headfirst into the river.

After a moment he bobs to the surface, floating in place, his mouth opening and closing like that of a landed fish. Then he slowly turns away as the current takes hold of him. I feel no urge to save him, but as the current pulls him along the bank, I realize that if the river takes him, we may never know who he was, never find Thalia, or Jane, or any of the others—or even learn what happened to them.

Hopping over the chain, I try to keep pace with him by running along the treacherous riprap. Navigating the gray rocks without breaking an ankle is difficult, and the high water carries him rapidly along, not only downriver but into the main channel. He's twenty feet from the bank and slipping farther way.

“Help!” he shouts, panic filling his dull eyes. “I can't breathe!”

His lungs are probably filling with blood. He could drown internally before the river gets him. I can't go in after him; he could drown me even without meaning to.

“Please!” he shouts. “I can't stay up!”

“Go to hell!” I yell, though I need to save him.

He's twenty-five feet into the channel now, turning in slow circles in the wake of a distant tug. Spinning away from me, he shouts something I can't hear. Then, as his face comes around, again he repeats it.

A bolus of adrenaline flushes through my veins, and I have to fight every muscle to keep from leaping in after him. That's just what he wants, of course. He has to be lying.

“Where is she?” I cry.

“Save me!” he yells again. “I can save her! Please!”

“Tell me first!”

His head slips under the water, then bobs up again. I struggle down to the river's edge, where a big piece of driftwood lies wedged in the rock. It's a long branch, worn smooth by the water on its journey south.

“Jordan!” shouts a voice from miles away. It's John, back at the steps. “Bring him in with the branch!”

I pull at the limb with all my strength, but I can't free it from the rocks. Every second he slips farther downstream, my sister's fate going with him. I can't save the bastard without jumping in myself, and that would be insanity. Good swimmers drown in the Mississippi, even without someone trying to kill them.

Suddenly, without conscious thought, my hand flies to the zipper of my fanny pack, and my hand jerks out the Canon point-and-shoot I used at the gallery fire in New York.

I point the lens at the drowning man and shoot one exposure, then scrabble along the riprap, leaping from rock to rock with no regard for my bones, trying to get close enough for a clear shot. But the channel has him now. He's thirty-five feet out and spinning away. As his face comes around again, I shoot three quick shots, then sprint along the tops of the rocks, hoping for another turn. When he's forty feet out, I get off two more; then his head slips below the surface and does not return.

Panting with exhaustion, I turn away from the water and climb carefully to the top of the levee. John is sitting on top of the steps, fifty yards away, a cell phone in his hand. The sound of approaching sirens rolls over me from the direction of the Quarter. As I trot down to where John sits, he puts down the phone and tightens his belt, which he has tied around his thigh.

“You're hit in the leg?” I ask.

Clearly in great pain, he nods, then points down the steps. “Go down there and see if you can find his gun. He might have dropped it. Fingerprints.”

I study every inch of weathered wood as I work my way down the steps, but there's no gun. There is blood, and a lot of it.

“Look on the rocks just under the water,” calls John.

They don't call the Mississippi the Big Muddy for nothing. You can't see through it. Dropping to my knees, I feel my way along the first submerged step, but a soft splinter is my only reward. The second is coated with funk. Moving sideways, I feel among the submerged rocks, and again find nothing. But as my hand comes out of the water, I freeze. Lying between two rocks in a rainbowed pool of oily water is a cellular telephone. Retrieving it from the water, I see blood on it.

“What have you got?” John shouts.

Holding the phone by its antenna, I climb back up the steps.

“Son of a bitch,” John groans.

“It's still on,” I tell him, looking at the water-filled LCD screen.

“Careful.” He takes the phone by its antenna and holds it before his eyes. “Shit! It just shorted out. While I was looking at it!”

“You can still get prints, though, right?”

“Maybe. But what we really need is the memory chip. This phone's getting on a plane to Washington. Don't mention it to any beat cops. Wait for Homicide.”

He points down the levee toward the French Market, where two white-helmeted mounted policemen are spurring their horses across the streetcar tracks.

I sit beside John, and in the first seconds of stillness, I start to shake. I wring my hands, trying to make them stop.

“Wendy's dead,” I say softly.

He nods.

“She threw herself in front of me.”