First Daughter (31 page)

He notices that the Chevy is heading more or less toward the reservoir area and wonders who it is that Gus recruited to take the Marmoset's place. It's an unenviable position, one that almost certainly requires a higher degree of compensation than Gus is used to paying. But then, that expense will no doubt be borne by Stanz and the Metro Police.

They are traveling north on Georgia Avenue NW, overshooting the reservoir. When Stanz's Chevy turns right on Rock Creek Church Road, Jack switches off his lights, feeling he knows where the rendezvous with Gus's snitch is going to take place. His hunch is confirmed when he follows the Chevy onto Marshall, and then Pershing Drive. They are now skirting the west side of the flat black expanse of the U.S. Soldiers' & Airmen's Golf Course. Bare trees loom up in groups that no doubt vexed the duffers making their slow rounds during daylight hours. Now, however, the trees have the course to themselves.

After flicking its headlights twice, the Chevy rolls to a stop on a section of road hemmed in on both sides by trees. Immediately, Jack
sees Stanz and Gus emerge from the Chevy. Stanz has kept the headlights on, and the two men follow the twin beams that cut through eerie shadows, straight down the road. Pale moths flutter, spending themselves in the glare.

Cautiously, Jack emerges from the Continental, making sure the door swings shut noiselessly but doesn't latch. Keeping to the side of the road, he creeps from tree to tree, stepping from shadow to shadow to make sure he won't be seen.

He's close enough now to see that Stanz and Gus have been joined by a male figure. He stands just outside the beams of light, and Jack moves forward to try to get a look at his face. He still isn't sure why he felt compelled to follow Gus. He knows he's worried. Someone murdered the Marmoset because he got too close to whoever killed those two men at the McMillan Reservoir. Jack read the news story, was mildly surprised to find that there was no information about who the victims were. The article said that the identities were being withheld pending notification of the respective next of kin. But in the increasingly smaller follow-ups, no mention was ever made of the victims' names.

As he inches closer, Jack can see that the three men are in animated discussion. Stanz's hands are hewing the air like axes. His mouth is going a mile a minute.

"—you mean, you can't get a name? I need a goddamned name!"

"I haven't got one," Gus's snitch replies.

"Then I'll damn well find someone who—"

"I guarantee you'll never get the name of the murderer," the snitch says, "either from me or anyone else."

Jack starts as he sees Stanz pull his service revolver. If it isn't for Gus's intervention, Jack feels certain Stanz would have shot the snitch. As it is, Stanz leaps at him, gets in a roundhouse right before Gus grabs him around the waist, holds him bodily in check.

"Get outta here," Gus growls. "Go on now!"

"That's right," Stanz howls in fury, "run away with your tail between your legs, you good-for-nothing nigger!"

Gus hurls Stanz to the ground, stands over him with the detective's gun in his huge hand. "I'll take alotta shit from you, but not this." He empties Stanz's service revolver, throws away the bullets. Then he drops the gun. "Don't come round my place no more, heah?"

As he stalks away, Stanz yells, "Don't expect to be paid for this!" And then as Gus squeezes behind the wheel of the Chevy and drives off, "Hey, are you leaving me here? What the fuck!"

G
US IS
waiting for Jack in the side yard under the shadows of the big oak. Jack, rolling in with the lights off, doesn't see him until he steps out. Jack brakes and Gus looms up to the driver's window, which Jack rolls down.

"Since you got yo'self used t'drivin' the boat, you can follow me t' the precinct so I can drop off this piece-o'-shit Chevy."

Gus lets Jack drive on the way home, as well. He says, "Whut you 'spect t'do, out there onna golf course?"

His voice isn't pissed off; it isn't even querulous. If Jack didn't know better, he'd think there was a note of tenderness.

"I was worried."

"Huh, 'bout me?" Gus pulls out his Magnum .357.

Jack says nothing, concentrates on making it home without getting lost. He supposes this to be a lesson, what's behind Gus's decision to let him stay behind the wheel.

"You bring a weapon, kid?"

Jack is startled out of his thoughts. "Uh, no."

"Why the hell not?" Gus puts away the enormous gun. "Whut you think you could do out there if things got ugly?"

"They almost did," Jack says, happy now to speak up.

"Huh, don' take no chances like that again, heah?"

Jack nods.

"They's a key behin' the kitchen door."

"I've seen it."

"Bottom right-hand drawer of my desk. They's a snub-nosed .38. Jus' right for a young feller like you. It's loaded, but there's a coupla boxes of ammo inna back."

"I don't like guns," Jack says.

"Huh, who the fuck does?" Gus shifts in his seat. "But sometimes there jes' ain't no substitute."

J
ACK WANTS
to stay awake. In fact, with all the excitement, he's certain he will. But Gus turns on the stereo. Music, familiar, earthy, shuffling, comes from his room, wraps Jack in a cocoon of melancholy history, and soon he's in a deep sleep.

He opens his eyes to see a bird on the branch of the oak outside his window. It's perched near the empty nest. Its head swivels as it looks in, peers around. It's morning. A thin, milky light stretches across the bare plank floor. Jack throws the covers off, stumbles to the bathroom to empty his bladder and splash cold water on his face.

He wonders what Gus is going to make for breakfast this morning. He hopes it's wild-blueberry pancakes. Since he doesn't smell anything cooking from downstairs, he knows there's time enough to put in his request with the chef.

Padding out into the hallway in just his underwear, he yawns hugely, scratches his stomach. He knocks on the partly open door of Gus's bedroom, calls his name, and walks in. The curtains are drawn and it's dim, still night here.

Gus is lying on the bed, the sheets and blanket rucked beneath his huge frame. He's facedown, his arms splayed wide. Jack assumes he's in a drunken stupor, calls his name more loudly. Getting no response, he pulls the curtains. Morning steps into the room, floods the scene.

Jack sees the bedclothes are black and shiny. He sees Gus's mouth half-open, as if he's about to yell at someone. He's staring right at Jack.

"Gus?"

Then Jack sees a knife with an odd-looking hilt jammed into Gus's back.

M
UCH LATER
, after the police have come and gone, after he's given his statement, after Reverend Taske has come, prepared food for Jack, after the house empties of light and life, Jack goes to the stereo, puts on
Out of Our Heads
. As Mick Jagger begins his aural strut, Jack stands fixed, staring at nothing at all. He knows he'll spend the night down here—maybe many nights to come. He can't bring himself to go upstairs, either to his room or to Gus's. But he wonders if that bird is still in the oak. He wonders what he was looking for.

Nearly a month after that, Detective Stanz comes to see him at the Hi-Line, the running of which Jack has taken over. Stanz walks slowly along the length of the glass cases, as if he's in the market to buy one of the odds and ends displayed there. But Jack knows why he's here. The only mystery is what took him so long to show up.

At last, he gets to where Jack is standing behind the register. He clears his throat. "You have some, uh, documents that Gus was keeping for me. I'd, uh, I'd like to have them back."

Jack considers for a moment. "I know what documents you mean. They belonged to Gus; now they belong to me."

Stanz's face looks like a fist. "Why, you little—!"

Jack reaches under the counter, pulls out a plain manila envelope. "I have one of them here."

He opens it, so Stanz can see the photocopies of the paperwork Stanz signed when he got his safe-deposit box at the Riggs National Bank.

Stanz snorts. "So what? Most everybody has a safety deposit box."

Jack slides a photocopy of another document from under the paperwork. "Not when two million dollars of Luis Arroyo Ochoa's money goes from the box to this offshore account in the Caymans."

Stanz goes white. He grips the display case so as not to lose his balance. "But this is impossible! Those accounts are sealed."

Jack nods. "So I understand, but that tax lawyer you went to who set up the account? He works for Gus."

Stanz wipes his sweating face. He moves to gather in the damning evidence against him, but Jack is quicker. He spirits the folder away.

"There's a price for everything," he says.

Shooting him a bleak stare, Stanz says, "What's yours?"

"I want to know who murdered Gus."

Stanz breathes a sigh of relief, and Jack knows why. He was terrified that Jack would demand half of the two million he stole. But Jack wants no part of Ochoa's blood money, and he's quite certain neither would Reverend Taske. Besides, Gus provided generously for Renaissance Mission Church in his will, just as he provided for Jack.

The detective licks his lips. "What about the other one?"

"The receipt for the gun you used to kill Manny Echebarra is safe with me, Detective Stanz. No one needs to see it."

Stanz ponders the unexpected situation he finds himself in. At length, he nods. "As it happens, I can help."

He holds out his hand. Jack gives him the folder and he stashes it away.

"The knife we took out of Gus's back is so unusual, it took the ME two weeks to track it down," Stanz says. "It's called a paletta. It's used in bakeries. Gus introduce you to any bakery-store owners? Yeah, I thought so. His calling card, right?" His glittery eyes regard Jack without even the smallest measure of sympathy. This is a business transaction, pure and simple. "The thing of it is, there's no prints, so we can't prove anything. The Metro Police's hands're tied, know what I mean?"

Jack, his mind already fixed on Cyril Tolkan, knows precisely what he means.

U
NLIKE OTHER
places in his past Jack had visited recently, the Marmoset's house looked just as he remembered it, with its deep-blue exterior and white shutters. It must have been repainted recently, he thought.

With the real possibility of a kidnap victim inside, along with her abductor, Jack wasn't prepared to take any chances of some overeager idiot tipping Kray/Whitman off. He got no argument from Nina. What he didn't tell her was that, incredible as it seemed, he was now quite certain that Kray/Whitman was the same person who had killed the two nameless men at McMillan Reservoir, the Marmoset, and Gus twenty-five years ago. He was also the man who had abducted Alli Carter, and Jack had little doubt that he would slip his paletta into Alli Carter's back if he was given the slightest hint his lair had been compromised. What he couldn't work out as yet was the overarching pattern into which all these terrible offenses fit, because there was absolutely no doubt in his mind that all the crimes were somehow connected. He was drawing close, however, because he could sense its color in his mind: a cold, neon blue, as beautiful as the developing pattern was ugly.

There was something else the developing pattern told him: In gunning down Cyril Tolkan for Gus's murder, he'd gone after the wrong man. Now, as his mind rolled all the emerging facts around, he had to wonder whether his stalking Tolkan was a case of deliberate misdirection. After all, it was the unique murder weapon that both Stanz and Jack had found most incriminating. The paletta was used in bakeries; Cyril Tolkan owned one: the All Around Town bakery. But though Jack had killed Tolkan twenty-five years ago, the strange filed-down paletta was being used again as a murder weapon. Jack didn't believe the paletta turning up again was a coincidence, nor did he think it was a copycat killer, simply because twenty-five years ago the murder weapon had never been revealed to the public. That meant Gus's murderer had been alive all this time. But why surface now, and why abduct Alli Carson?

Jack sat stunned, trying to regain his equilibrium as past and present rushed headlong at each other.

At last, he roused himself. "I know this place," he said as they sat in the car where they'd parked down the block. "I'll take the back, you take the front."

They synchronized their watches. It was dusk, the light grimly fading from the sky as if whisked away by a sooty broom. The air was cold but still. Dampness lay on the ground like trash.

"Give me ninety seconds from the time we split up to get into position," he continued, "okay?"

Nina nodded and they both got out of the car. Together, they glanced at their watches as they parted company on the pavement. Jack counted to himself as he made his way down the side of the house, past a couple of garbage cans on his right, a chain-link fence on his left. Jack thought of Zilla, the huge German shepherd Gus treated so well.

He arrived at the back door with sixteen seconds to spare. On his way, he'd passed three windows. Two were heavily curtained, making
it impossible to see in. The third looked past lacy curtains to a kitchen, yellow as butter. It was deserted.

Inserting a pair of hooked picks into the lock, he manipulated them so that they simulated the turn of the proper key. The door popped open at almost the same time Nina was knocking on the front door. Glock drawn, Jack went from room to room, listened for any human sounds in between Nina's insistent knocking. It was dim, gloomy, full of bad memories that seemed to vibrate through the floorboards. In the hallway, he paused at the line of photos. His hair stood on end—they were all of Alli Carson. They had the telltale flatness associated with a long telephoto lens. Then his breath caught in his throat, for there in the middle was a photo of Alli and Emma walking together on the Langley Fields campus. As he stared at the two girls, Emma's image seemed to flicker, grow wavy, and move toward him. He could swear she knew he was here; he thought the smile on her face was for him.