THURSDAY NIGHT, pitch black, blowing snow. Heavy clouds, no moon behind them.
The Buick disappeared into the garage and the door started down. The big man, rolling down the highway in a battered Cherokee, killed his lights, pulled into the driveway, and took the shotgun off the car seat. The snow crunched underfoot as he stepped out; the snow was coming down in pellets, rather than flakes, and they stung as they slapped his warm face.
He loped up the driveway, fully exposed for a moment, and stopped just at the corner of the garage, in a shadow beneath the security light.
Jane Warr opened the side door and stepped through, her back turned to him as she pulled the door closed behind her.
He said, "Jane."
She jumped, her hand at her throat, choking down a scream as she pivoted, and shrank against the door. Taking in the muzzle of the shotgun, and the large man with the beard and the stocking cap, she screeched: "What? Who're you? Get away . . ." A jumble of panic words.
He stayed with her, tracking her with the shotgun, and he said, slowly, as if speaking to a child, "Jane, this is a shotgun. If you scream, I will blow your heart out."
She looked, and it was a shotgun all right, a twelve-gauge pump, and it was pointing at her heart. She made herself be still, thought of Deon in the house. If Deon looked out and saw them . . . Deon would take care of himself. "What do you want?"
They stood for two or three seconds, the snow pellets peppering the garage, the big man's beard going white with it. Then, "Joe's not here." A hint of assertion in her voice--this didn't involve her, this shotgun.
"Bullshit," the big man said. He twitched the muzzle to the left, toward the house. "We're going inside to talk to him, and he's gonna pay me some money. I don't want to hurt you or anybody else, but I'm gonna talk to Joe. If I have to hurt the whole bunch of you, I will."
He sounded familiar, she thought. Maybe one of the guys from Missouri, from Kansas City? "Are you one of the Kansas City people? Because we're not . . ."
"Shut up," the big man said. "Get your ass up the steps and into the house. Keep your mouth shut."
She did what he told her. This was not the first time she'd been present when an unfriendly man flashed a gun--not even the second or third time-but she was worried. On the other hand, he said he was looking for Joe. When he found out Joe wasn't here, he'd go. Maybe.
"Joe's not here," she said, as she went up the steps.
"Quiet!" The man's voice dropped. "One thing I learned down in Kansas City-I'll share this with you--is that when trouble starts, you pull the trigger. Don't figure anything out, just pull the trigger. If Joe or Deon try anything on me, you can kiss your butt good-bye."
"All right," she said. Her voice had dropped with his. Now she was on the stranger's side. She'd be okay, she told herself, as long as Deon didn't do anything. But there was something too weird about this guy. I'll share this with you?--she'd never heard a serious asshole say anything like that.
They went up the stairs onto a back porch, then through the porch into a mudroom, then through another door into the kitchen. None of the doors was locked. Broderick was a small town, and it doesn't take long to pick up small-town habits. As they clunked into the kitchen, which smelled like microwave popcorn and week-old carrot peels, Deon Cash called from the living room, "Hey," and they heard his feet hit the floor. A second later he stepped into the kitchen, scowling about something, a thin, five-foot-ten-inch black man in an Indian-print fleece pullover and jeans, with a can of Budweiser in one hand.
He saw Warr, the big man behind her, and then, an instant later, registered the shotgun. By that time, the big man had shifted the barrel of the shotgun and it was pointing at Cash's head. "Don't even think about moving."
Excerpted from Naked Prey by John Sandford, copyright © 2003 by John Sandford, published by G.P. Putnam's Sons, a member of Penguin Group (USA) Inc., all rights reserved, reprinted with permission from the publisher.
Blood at the Root
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