We started to change direction, but the woman was laughing now, her face sweaty and bright at the open window.
"Hey, boy, you know what we been doin'? It make my pussy feel so good. Hey, come here, you. We been fuckin', boy," she said.
It should have been over, a bad encounter with white trash, probably drunk, caught in barnyard copulation. But the real moment was just beginning. The man behind the steering wheel lit a cigarette, his face flaring like paste in the flame, then stepped out on the gravel. There were tattoos, like dark blue smears, inside his forearms. He used two fingers to lift the blade out of a pocketknife.
"You like to look t'rew people's windows?" he asked.
"No, sir," I said.
"They're just kids, Legion," the woman in back said, putting on her shirt.
"Maybe that's what they gonna always be," the man said.
I had thought his words were intended simply to frighten us. But I could see his face clearly now, the hair combed back like black pitch, the narrow white face with vertical lines in it, the eyes that could look upon a child as the source of his rage against the universe.
Then Jimmie and I were running in the darkness, our hearts pounding, forever changed by the knowledge that the world contains pockets of evil that are as dark as the inside of a leather bag.
Because my father was out of town, we ran all the way to the icehouse on Railroad Avenue, behind which was the lit and neatly tended house of Ciro Shanahan, the only man my father ever spoke of with total admiration and trust.
Later in life I would learn why my father had such great respect for his friend. Ciro Shanahan was one of those rare individuals who would suffer in silence and let the world do him severe injury in order to protect those whom he loved.
On a spring night in 1931, Ciro and my father cut their boat engines south of Point Au Fer and stared at the black-green outline of the Louisiana coast in the moonlight. The waves were capping, the wind blowing hard, puffing and snapping the tarp that was stretched over the cases of Mexican whiskey and Cuban rum that my father and Ciro had off-loaded from a trawler ten miles out. My father looked through his field glasses and watched two searchlights sweeping the tops of the waves to the south. Then he rested the glasses on top of the small pilothouse that was built out of raw pine on the stern of the boat and wiped the salt spray off his face with his sleeve and studied the coastline. The running lights of three vessels pitched in the swells between himself and the safety of the shore.
"Moon's up. I done tole you, bad night to do it," he said.
"We done it before. We still here, ain't we?" Ciro said.
"Them boats off the bow? That's state men, Ciro," my father said.
"We don't know that," Ciro said.
"We can go east. Hide the load at Grand Chenier and come back for it later. You listen, you. Don't nobody make a living in jail," my father said.
Ciro was short, built like a dockworker, with red hair and green eyes and a small, down-hooked Irish mouth. He wore a canvas coat and a fedora that was tied onto his head with a scarf. It was unseasonably cold and his face was windburned and knotted with thought inside his scarf.
"The man got his trucks up there, Aldous. I promised we was coming in tonight. Ain't right to leave them people waiting," he said.
"Sitting in an empty truck ain't gonna put nobody in Angola," my father said.
Ciro's eyes drifted off from my father's and looked out at the southern horizon.
"It don't matter now. Here come the Coast Guard. Hang on," he said.
The boat Ciro and my father owned together was long and narrow, like a World War I torpedo vessel, and had been built to service offshore drilling rigs, with no wasted space on board. The pilothouse sat like a matchbox on the stern, and even when the deck was stacked with drill pipe the big Chrysler engines could power through twelve-foot seas. When Ciro pushed the throttle forward, the screws scoured a trough across the swell and the bow arched out of the water and burst a wave into a horsetail spray across the moon.
Copyright © 2002 by James Lee Burke
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