The Dagger X (The Dagger Chronicles) (2 page)

T
he loaded pistol quivers in the boy’s hands, his whole body seized with terror. Kitto Quick stands at the top of a long stairwell leading down into the cooper shop below. Traveling up that stairwell comes the cacophony of splintering wood and clanging metal, of grunting men straining to win the upper hand in a deadly battle.

I must go down! I must help Father!

Kitto knows what awaits him down there. Seven years ago—when he was just a small child—Kitto’s uncle William Quick and his father had teamed up to steal from the mighty Henry Morgan of Jamaica. It was an act of defense, as Morgan had already planned to rob from William, but the law sees it otherwise. Now Morgan has sent his key man to retrieve what was stolen and to mete out punishments for those foolish enough to have connived against him.

Kitto looks over his shoulder at the shuttered window behind him.
I could open it, jump down into the garden, and escape along the alley. Even with my clubfoot, they would not catch me in time!
A man crying out in pain
interrupts his thoughts. Kitto’s father is downstairs, and he is in desperate need.

I must not leave Father! I must go down!

Kitto lowers himself slowly down the first few steps, his arms held stiff in front of him, the barrel of the pistol aimed at the clapboard wall where the stairs turn at the bottom, concealing the struggle going on in the shop.

“One shot is all it’s good for. . . .”
That was what his father had told him moments ago about the pistol.

One shot.

One life.

Kitto descends three more stairs, leading with his bent foot and following with the good one. His heartbeat drums in his ears so loudly he scarcely hears the crash of the workbench being flipped onto its side. But then the sounds lessen, and Kitto can hear the wheezing of a man barely able to draw a breath.

Father!

Kitto thunders down the last several stairs and slams his shoulder into the wall, the pistol held out in front of him. There is Father, half lifted by a giant of a man who has wrapped a thick arm around Father’s throat. Father’s face is beet red, his eyes gaping.

More chilling still is the other man. He stands apart from the grapplers with a cutlass in one hand and a dagger in the other. A pistol butt protrudes from his belt. This man is Captain John Morris. Seven years ago Kitto’s uncle had cut off Morris’s nose in a swordfight over the nutmeg that William and Kitto’s father had stolen. The
ragged holes in his face give him the look of a living skeleton. His appearance is worsened, too, by purpled scars that curve up from each corner of his mouth like some sort of eerie smile. He is Henry Morgan’s partner and a cold killer.

Kitto trains the pistol on Morris.

“Easy, lad,” Morris says, his voice like the scraping of stones.

“Let my father go!” Kitto screams. The giant man loosens his grip. Father falls to his knees, gasping for air. He lifts his head to Kitto and points at Morris.

“Pull the trigger, Kitto! For God’s sake, shoot him!”

Shoot? Kill?

Kitto raises the pistol higher and stares down the barrel. Morris’s black eyes sparkle.

“You can never kill me, Christopher Quick!” he sneers. Suddenly Father lets out a cry, tumbles away from the giant man, and leaps onto Morris’s back. The two of them spin about wildly, crashing into a pail of fireplace ashes that issue a great billowing gray cloud into the room. Kitto watches, rigid with fear, as the two men contend for the pistol at Morris’s belt.

Can I shoot? Should I shoot?

The giant man, now at loose ends, has plucked a hammer from the wreckage of the workroom, a heavy squared hammer used to even up the ends of staves on a barrel. He steps about the shattered ceramics and upturned furniture, trying to get closer to the two struggling men.

The hammer.
What will he do with the hammer?

“Pull the trigger, Kitto! For God’s sake, shoot him!”

There is a flash and an explosion of sound, but it is not Kitto’s weapon. Morris and Father both go still. The giant man steps forward with the hammer, raising it high.

“For God’s sake, shoot him!”
The sound of Father’s shout rings again in Kitto’s head.

The hammer falls, striking Father a savage and fatal blow to the top of his head.

Father is dead!

Another explosion rips the air, and the pistol bucks in Kitto’s hands. Now the giant man is teetering, a stream of blood flowing from his left eye. He falls backward, smashing a chair to pieces behind him.

Kitto drops the spent pistol. He runs toward the back of the shop, the clubfoot swinging forward in a bobbing gait. He reaches the door, opens it, and is running through the garden and into the alley. The chalky voice of Morris chases after him.

“You are dead, boy! Dead! Do you hear me?”

Dead!

On Kitto runs, tears streaming down his cheeks, and before his eyes the alleyway melts. The gate in front of him that separates his neighbor’s garden plot from his own is no longer a gate. It is now a ship’s rail.

Kitto runs toward it, a cutlass swinging in his right hand. He leaps over it, braces one foot on the rail, and springs out over open space. He hurtles through the air and tumbles onto the deck of another ship. All around
him are the battle cries of men and the ringing of clashing swords.

Yes. Before Morris left Falmouth to chase my uncle William and me, he kidnapped my stepmother Sarah, and he has her now on the ship. I must free her!

Kitto dodges the fighting men and scoots toward the bow of the ship where Sarah is tied about the wrists. She slumps against the rail, her face concealed behind her long blond tresses. The back of her head is matted with blood.

“Mum!” Kitto cries, hacking at the ropes with the cutlass. The severed hemp falls aside.

“Mum, we have to go!” Kitto shrieks. He pulls at her hand and then recoils from it in surprise. There is a tattoo on the back of her hand, the tattoo of a skeleton hand.

Henry Morgan’s symbol?

Sarah turns to him.

The face that comes into view is not the face of warmth and love that Kitto has known since he was six years old. The face that turns to him bears a leering smile of brown teeth, pale blue eyes, and a frightening tattoo that covers one eye socket in the uncanny likeness of a spider, the furry knuckled legs reaching out across the man’s nose and forehead and cheek. It is Spider, one of Morris’s seaman thugs.

“Hello, cripple!” Spider chuckles. He reaches out and takes hold of Kitto’s belt with one hand and a fistful of his curly black hair with the other. Kitto cries out in pain as he is lifted into the air. From his belt tumbles a beautiful
dagger with a handle of silver and bone—the one and only token he has of his murdered father. Spider kicks it aside.

“Time to swim with the fishes!” Spider says. He steps toward the rail and heaves. Kitto feels his weightless body twisting through space. He spins in the air and sees the water rushing up at him, and there in the water is a monstrous shark awaiting him. It rolls onto its back, exposing a glimmering white belly and endless rows of razor teeth. . . .

Kitto shot out of his nightmare and into consciousness, eyes wide. He sat up with a jolt on the pallet of palm fronds that was his mattress. Sweat poured down his brow; his hair was wet with it.

Where am I?
he thought to himself, and looked about him. He lay in some sort of a structure, open to the elements on one side. Around him splayed three bodies, curled carelessly in sleep.
That is Van,
he told himself.
And Mum.
His eyes drifted to the third figure, a slight one. A child? A girl?

Kitto turned away to look out into the night. A fire ring stood sentinel over the sleepers, wisps of smoke weaving upward from dim coals into a star-filled sky.

The dream.
Kitto rubbed at his eyes.
It was both nightmare and memory.

I
am
Kitto Quick. I
am
twelve years old, and I have a clubfoot. My father was a cooper, a barrel maker, and I do have an uncle named William Quick. He showed up in Falmouth to get my father’s help in retrieving a treasure—a
horde of . . . spice . . . nutmeg!—that they had hidden on an island. The spice they had stolen from Henry Morgan, the mighty buccaneer from Jamaica.

Now the memories came in a rush.

William Quick had been followed by Morgan’s men. They did burst into Father’s shop, just as in the dream. I could have shot earlier than I did. Perhaps Father would have lived. . . . But I did shoot, and I did kill a man. Then I ran. I made it to my uncle’s ship with the help of Van, a boy seaman who sailed with William. And what was it I discovered about Van? Ah, yes. It was Van all along who was giving information to John Morris, information like where and when William would sail, and where the cooper and his boy lived. Why would Van do such a thing? He did it for the money . . . but not for himself. He needed money to care for his sister back in Providence.

They had fled in William’s ship, sailing for Cape Verde to take on supplies. There they had freed Kitto’s brother, Duck, who Morris had captured and sold into slavery.

I freed Duck,
Kitto thought.
But Duck is not safe.

“Duck is not safe,” he whispered. Next to him a sleeping figure stirred, then sat up. It was Sarah, Kitto’s stepmother. She reached for him and took his hand.

“Kitto, you have woken!” she said.

“Duck is not safe,” Kitto said again.

“Yes, I know.” Sarah dabbed a damp cloth at Kitto’s forehead. “Elias is not safe,” she said, using Duck’s real name.

“We tried to get to the spice first, but Morris caught up to us in his ship.” Sarah reached out and stroked Kitto’s hair, the curls sagging with perspiration.

“I was on that ship,” she said. “And you saved me.”

Yes, that part the nightmare got wrong,
Kitto thought.

“In the fight I cut you loose, and we escaped on a rowboat with Van,” Kitto replied.

“He is another one who owes you his life,” Sarah said. “Van was thrown into the water during the fight, and it was filled with sharks.”

“He could not swim,” Kitto said, and now his mind was reeling with the images of great teethed beasts swirling about him. His head felt suddenly light, and Sarah’s hands lowered him back to the pallet.

“You must rest,” Sarah said. “Van has treated you.”

“Treated me. What do you mean, Mum?”

Kitto heard Sarah catch her breath. “Do you not remember?”

Remember. Sharks. Foot.

“My foot,” he said.

“Yes. Your foot was taken by the shark when you rescued Van.”

“My clubfoot?”

“Yes.”

“I want to see.” Kitto tried to sit again, but Sarah pressed firmly on his chest.

“Later,” she said. “Van has sealed the wound, and you will live.”

A silence grew between them for several moments as Kitto contemplated what Sarah had told him. All his life that clubfoot had been his bane. Strangers at the wharf in Falmouth looked on him warily. Children his
own age crossed the cobbled street when he came walking. A twisted foot meant a twisted soul. Is it possible that life could go on without it?

From a distance came the gentle sound of waves breaking on a sandy beach. Finally Kitto spoke.

“We do not know where Duck is, or William?” Kitto said.

“We do not. During the battle, we drifted off in a rowboat. We could not make it back to the ship. Duck is on that ship, hidden.” Sarah chewed one corner of her lip and drew a deep breath. “But we can pray, and we can keep looking out to the sea every day, hoping it is the right ship that will appear on the horizon, hoping and praying that it will be William’s and not Morris’s
Port Royal
.”

“We are on the island where the nutmeg is hidden,” Kitto said. “That is why they will come.”

“Yes. So you have told me. About this nutmeg I know almost nothing.”

“There is a cave,” Kitto said. The figure at the far end of the shelter stirred. Kitto pointed.

“Who is that?”

“Her name is Ontoquas. She was already here. On the island. I do not know how it is possible, but she has been a godsend. Without her we . . .”

Kitto’s eyelids sagged.

“We all keep each other alive,” Sarah said, knowing it was true. She brushed the back of her hand on Kitto’s cheek. “Go to sleep, my son. I will watch over you.”