First Daughter (13 page)

Ronnie Kray was curdled by these thoughts as he surveyed the graffitied row house fronts, the cyclone fences hemming in patches of dirt and half-dead grass across the empty potholed street. Fear had cleared the area as efficiently as a canister of tear gas. From the fumy gutter a sheet of newspaper lifted into the air, as if being read by one of the many mournful ghosts washed up on the shore of this wasteland. At length, his gaze settled on the one other moving thing in his field of view: the pulped young black man crawling along the gutter, this low thoroughfare the only one open to him. Even so, he quickly exhausted himself, spread-eagled like a starfish in spillage, much of it his own.

Ronnie Kray watched, observant as a hawk overflying a field of rabbit warrens. He could have gone out to help the young man, but he didn't. He could have called 911, but he didn't. In truth, those ideas never crossed his mind. Kray was a missionary, and like all good missionaries, his mind ran along one track. Missionary zeal precluded any deviation whatsoever from his chosen path. So he stood behind the curtain, watching the world at its lowest, meanest ebb, and took heart,
for only at the darkest depths, only when all hope is lost, does the catalyst for change raise a spark that turns into the flare of a thousand suns.

The moment was at hand; he knew it as surely as his heart beat or his lungs took in air. At last, when all movement had ceased, he turned and padded silently away, through a front parlor wrapped in the dust of ages. Everywhere lay teetering stacks of old books, abandoned magazines, forgotten vinyl phonograph records in colorful cardboard jackets. They weren't his, so he didn't feel the compulsion to categorize, alphabetize, catalog them, or even to align their edges so they wouldn't make his teeth grind every time he saw them.

On the paneled hallway walls were hung black-and-white photographs of a girl, not more than twenty, with intelligent, wide-apart eyes. The flattened, slightly grainy images of her face were the result of an extended telephoto lens like those used in police and DEA surveillance. In all the photos, the backgrounds were smeared and blurry. But in one or two could be made out a piece of the flag of the United States.

The kitchen was a cheery shade of yellow. It had wooden cupboards, painted a glossy white. Gaily striped cafe curtains were drawn across the windows. He paused at the soapstone sink, slowly drained a tumbler of cold water, then, after washing the glass with soap and steaming hot water he set it upside down in the precise center of the drainboard. He opened the refrigerator. Inside, all the metal racks had been removed to make room for the girl he'd curled into it, her knees kissing her chin. Her eyes were filmed, her blue-white skin a crush of crepe paper. Her arms were placed on her thighs. Her left hand was missing. Reaching into the triangular space between her heels and her buttocks, he removed a small cloth sack.

Off the kitchen was a small room. Once a pantry, the windowless room was outfitted with a small stainless steel sink, a cupboard straight out of a Grimm fairy tale, a beaten-up chest of drawers salvaged from the street and rehabbed with an exacting attention to detail. At the
chest, he opened drawers that were filled neatly with chemical reagents, gleaming scalpels, retractors, sterile syringes, vials of sera all in perfectly neat rows set within mathematically placed metal dividers. He took out a pair of surgical pliers, put it in the right-hand pocket of his overalls.

Reaching up, he opened the cupboard.
Pseudocerastes persicus
coiled around the semidarkness, neat as a sailor's rope. The light spun off scales the pale pink of human flesh pulled inside out. The Persian horned viper raised her head, body uncoiling slowly. The supraorbital horns made her appear as sinister as a demon. Just below the horns, the ruby eyes opened and the forked tongue flickered out. Then, catching sight of the cloth sack, her jaws hinged wide, revealing erected fangs, hollow with venom.

"Ah, Carrie, you sense it, don't you?" Kray crooned softly. The pink inside of her mouth was almost erotic. People were so predictable, Kray thought bitterly. But you never knew about Carrie. That was the delicious part of it, like a spice only he knew about. She could wind herself lovingly about his wrist for years and then one day sink her fangs into the meat between his thumb and forefinger. He felt—it was a French word—a
frisson,
yes, that was it—he felt a frisson electrify his spine.

"Dinner is served." Opening the sack, he dumped the contents into his slightly cupped palm. The rat lay on its side, dazed, lethargic from the cold. Out snaked Carrie's wide, triangular head, its tongue questing. Coiling around Kray's wrist, the viper's demon head hovered over the slowly stirring rat.

"That's right," Kray sang. "Eat your fill, baby."

The forked tongue quivered; the head reared back. Just as the rat, warming, rolled onto its pink feet, Carrie struck, her flat head lanced forward, her fangs sank to the root into the rat's neck. The rat's eyes rolled, it tried to extricate itself, but so powerful was the nerve toxin that it couldn't even move.

Now comes the most beautiful part,
Kray thought as Carrie began the long process of swallowing her prey. The miracle of death overtaking life a centimeter at a time. Because, though paralyzed, the rat was still alive, its eyes rolling in terror as its hindquarters were sucked into the viper's throat.

Afterwards, Kray returned to the back room, where he drew out a key attached to a loop on his overalls by a stainless steel chain. Inserting the key in the lock, he walked through.

On the other side, he shut the door, locked it carefully behind him, turned, and said to Alli Carson, "What have they done to you?"

W
HEN
J
ACK
walks out of Reverend Taske's rectory into the church proper, the first thing he sees is Gus sitting in a pew. His eyes are closed, his lips are moving soundlessly, but the moment Jack tries to glide past, his eyes open, and though he's staring straight ahead, he says, "First time in a place like this, kid?"

Jack feels a tremor run down his spine. "You mean a black church?"

Very slowly, Gus turns his head. His eyes are boiling with rage, and Jack shrinks back into the shadows. "I mean a church, kid."

Jack, hovering, doesn't know what to say.

"I'm talkin' God here."

"I don't know anything about God," Jack says.

"What
do
you know 'bout?"

Jack shrugs, dumbfounded.

"Huh, smart white kid like you. Think you got all the perks, right?" His lips purse. "What you doin' in these parts, anyway? Why ain't you tucked away nice an' cozy in yo' own bed?"

"Don't want to go home."

"Yeah?" Gus raises his eyebrows. "Rather be beaten up in a alleyway?"

"I'm used to being beaten."

Gus stares at him for a long time; then he lumbers to his feet. "Come outta there, kid. Only rats stick to the shadows."

Jack feels like an insect stuck on flypaper. His muscles refuse to obey Gus's command.

Gus squints. "Think I'm gonna hurt you? Huh, that already been done real good."

Jack takes a tentative step forward, even though it means coming closer to the huge man. He smells of tobacco and caramel and Old Spice. Jack's frantic heart lurches into his throat as Gus lays a hand on his shoulder, turns him so that the early morning sun, colored by the handmade stained-glass windows in the church's front, falls on him.

"That little muthafucka Andre."

He looks up into Gus's eyes and sees a curious emotion he can't quite identify.

"Past time someone taught him an' his crew a lesson, what d'you think?"

Jack feels a paralyzing thrill shoot up his spine.

Gus puts a thick forefinger across his lips. "Don't tell the rev. Our secret, right?" He winks at Jack.

M
EAN STREETS
flee before the grilled prow of Gus's massive Lincoln Continental, white as a cloud, long as the wing of a seagull. Jack, perched on the passenger's seat, feels his heart flutter in his chest. His hands tremble on the dashboard. Below them, dials and gauges rise and fall. Gus is so huge, his seat has been jacked to the end of its tracks, the back levered to an angle so low, anyone else would be staring at the underside of the roof.

Beyond the windshield, the climbing sun bludgeons blue shadows into gutters and doorways. The wind sends sprays of garbage through
the early morning. Soot rises into miniature tornados. An old woman in garters pushes a shopping cart piled high with junk. An emaciated man, fists clenched at his side, howls at invisible demons. An empty beer bottle rolls into his foot and he kicks it viciously. The old woman scuttles after it, stuffs it into her cart, grunting with satisfaction.

But this ever-changing scene with all its sad detail nevertheless seems distant and dull compared with the interior of the car, which is alive with Gus's fevered presence. It is as if his inner rage has frightened the very molecules of the air around him. It feels hot in the car, despite the roar of the air conditioner, and Jack somehow intuits that this unnatural heat is exceedingly dangerous.

Jack went once to the zoo with his class at school, while he was still going to school. He was both drawn to and terrified by the bears. In their black bottomless eyes he saw no malice, only a massive power that could never be harnessed for long, that could turn instantly deadly. He imagined such a bear in his room at night, raising its snout at the small sounds his father made, its wet nostrils flaring at the scent of his father's approach. The music would mean nothing to the bear; it ignored Mama Cass and the others. And when the door to the bedroom swung inward, the bear would swat the man down before he could raise the belt. Of course, no such creature existed—until the moment Jack stepped into the white Lincoln Continental, felt the electricity sizzling and popping as it had through the bars of the bear's cage.

"You know where Andre hangs out," Jack says because he has a desperate need to banish a silence that presses on him like a storm descending.

"Don't know, don't care," Gus says as they round a corner.

Jack is trying hard to follow, but everything that's happened to him over the last several hours is so out of his ken, it seems a losing battle. "But you said—"

Gus gives him a swift look, unreadable, implacable. "It's not for me to punish Andre."

They drive on in silence, until Gus flicks on the cassette player. James Brown's umber voice booms from the speakers: "
You know that man makes money to buy from other man
."

"It's a man's world," Gus sings, his voice a startling imitation of Brown's. "True dat, bro, it fo' damn sho is."

At length, they draw up in front of the All Around Town bakery on the ground floor of a heavily graffitied tenement. Through the fly-blown plate-glass window, Jack can see several men talking and lounging against shelves stacked with loaves of bread, bins of muffins, tins of cookies.

When he and Gus walk through the front door, he is hit by the yeasty scents of butter and sugar, and something else with a distinct tang. The men fall silent, watching as Gus makes his way toward the glass case at the far end of the narrow shop. No one pays any attention to Jack.

"Cyril," Gus says to the balding man behind the counter.

The balding man wipes his hands on his apron, disappears through an open doorway in the rear wall, down a short passageway lined with stacks of huge cans, boxes, and containers of all sizes, into a back room. Jack observes the men. One curls dirt from beneath his fingernails with a folding knife, another stares at his watch, then at the third man, who rattles the pages of a tip sheet he's reading. None of them look at Gus or say a word to each other or to anyone else.

The balding man returns, nods at Gus.

"C'mon," Gus says, apparently to Jack.

Jack follows him behind the counter. As he passes by, the balding man plucks a chocolate-chip cookie off a pile in the case, gives it to him. Jack chews it thoughtfully, staring at the containers as he walks by.

The passageway gives out onto a cavelike room with a low ceiling the color of burnt bread. It is dominated by a line of enormous stainless steel ovens. A cool wind blows from a pair of huge air-conditioning grilles high up in the wall. Two men in long white aprons go about
their laconic task of filling the kneading machines, placing pale, thin loaves into the ovens in neat rows.

Standing in the center of the room is a squat man with the neck of a bull, the head of a bullet. His wide, planular olive-gray face possesses a sleekness that can come only from daily shaves at a barbershop.

"Hello, Cyril," Gus says. He does not extend his hand. Neither does Cyril.

Cyril nods. He takes one glance at Jack, then his round, black eyes center on Gus. "He looks like shit, that kid." He's got a curious accent, as if English isn't his first language.

Gus knows a put-down when he hears one. He chews an imaginary chaw of tobacco ruminatively. "He looks like shit 'cause a Andre."

Cyril, divining the reason for the visit, seems to stiffen minutely. "What's that to me?"

Gus puts one huge hand on Jack's shoulder with an astonishing gentleness. "Jack belongs to me."

The bakers are looking furtively at the two men as if they are titans about to launch lightning bolts at each other.

"I would venture to say Andre didn't know that."

"Andre an' his crew beat the crap outta Jack." Gus's voice is implacable. The inner rage informs his face like heat lightning.

Cyril waits an indecent moment before acquiescing. "I'll take care of it."

"I warned you 'bout that muthafucka," Gus says immediately.

Cyril shows his palms. "I don't want any trouble between us, Gus."

"Huh," Gus grunts. "You already been through
that
bloodbath."

T
HE
L
INCOLN
Continental is singed with invisible fire as Gus drives them away from the bakery. Gus, brooding, is like a porcupine with his quills bristling.