Billy Summers (19 page)

At nine-thirty, as Billy is considering his exit options—disassembling the gun will be step one, no matter what—a black SUV with COUNTY SHERIFF on the side glides onto Court Street. Blue lights are flashing on the roof and inside the grill. The small Channel 6 film crew, which has been lounging around, snaps to attention. A woman in a short dress the exact same red as Phil's fall coat steps out of the TV truck. She's holding a microphone
in one hand and a small mirror in the other, to check her appearance. The mirror heliographs bright morning sun Billy's way and he turns his head to avoid the dazzle.

Two cops, walkies in hand, emerge from the courthouse and trot down the stone stairs as the SUV stops at the curb. The front passenger door opens and a portly man in a brown suit and a ridiculously large white Stetson gets out. A uniformed cop gets out on the driver's side. The TV crew is filming. The reporter starts to approach the portly man, who is surely the county sheriff. No one else would dare to wear a Stetson like that. The courthouse cops move to block the reporter, but the portly man beckons her forward. She asks a question and holds the mic to him for his reply. Billy can guess the gist of it: we know how to handle dangerous men like this, justice will be done, vote for me next November.

The reporter has her sound bite and takes a step back. The portly man turns to the SUV. The back door opens and another uniformed cop gets out. This one's an XL widebody. Billy raises the Remington to port arms, watching and waiting. The driver joins the widebody. They turn to the open door and now Joel Allen emerges. Because it's just the arraignment and there's no jury to impress, he's wearing an orange DOCC coverall instead of civvies. His hands are cuffed in front of him.

The reporter wants to ask Allen a question, probably something insightful like did you do it, but this time the portly man pushes out his hands at her. Allen is grinning at her and saying something. Billy doesn't need the scope to see that.

The humungous cop takes Allen by the elbow and turns him to the courthouse steps. They start their climb. Billy slides the barrel of the Remington through the hole in the glass. He snugs the butt plate into the hollow of his shoulder and puts his elbows on his slightly spread knees, for a shot like this all the support he needs. He looks into the scope and the scene down there jumps close. He can see the creases in the portly man's sunburned neck. He can see
the keyring jingling and bouncing on the humungous cop's belt. He can see a tuft of Allen's light brown hair sticking up in the back. Billy will put the slug right through that cowlick and into the brain beneath. Into the secret Allen's been keeping, the one he's been hoping is his Get Out of Jail Free card.

This time the flash of memory is the kids pig-piling on him when Derek beat him in that last Monopoly game. He banishes it. Now it's just him and Allen. They are the only ones in the world. It comes down to this. Billy pulls in an easy breath, holds it, and takes the shot.

The force of the slug frees Allen from the grip of his cop minder. He flies forward with his arms out and hits the steps. The front of his skull gets there before the rest of him. The portly sheriff runs for cover, losing his ridiculous cowboy hat. The woman reporter also beats feet. The camera guy crouches reflexively but holds his ground. So does the widebody cop. The Dixie-fried Marine sergeant who signed Billy up would have loved both those guys. Especially the widebody, who takes one glance at Allen and then whirls, pulling his gun and looking for the source of the shot. This guy's got his shit together, and he's quick, but Billy has already withdrawn the 700. He drops it on the floor and goes into the outer office.

He peeks into the hall and sees no one. The first flashpot goes off. It's a good loud bang. Billy takes off, sprinting all-out for the men's, pulling the key from his pocket as he goes. He turns it in the base of the Yale lock and just as he slips inside the bathroom, he hears raised, excited voices from the far end of the hall. The Young Lawyers, plus their paralegal and their secretary, are headed across to Crescent Accounting, right on schedule.

Billy bends over the trash basket, tosses aside the paper tow
els, and grabs the components of his disguise. He yanks the parachute pants on over his jeans, pulls the drawstring, granny-knots it. There's no fly to zip. He puts on the Rolling Stones jacket. Then, looking in the washbasin mirror, he dons the wig. The black hair only falls halfway down the nape of his neck, but it obscures his forehead to his eyebrows and the sides of his face.

He opens the men's room door. The hall is empty. The lawyers and accountants (Phil among them) are still gawking at the confusion below. Soon they will decide to exit the building, and at least some of them will take the stairs because they are too many for the elevator, but not yet.

Billy leaves the bathroom and starts down the stairs. He can hear commotion below him, plenty of it, but the flight between four and three is empty. The people on those floors are still gawking out the windows. Not on the second floor, though, that's all Business Solutions, and even without the translucent shades they wouldn't have the panoramic view offered by the street-facing windows higher up. He can hear them clumping down the stairs, babbling as they go. Colin White will be among them, but no one should notice he now has a doppelgänger, because Billy will be behind them and nobody is going to be looking back. Not this morning.

Billy pauses just above the second-floor landing. He stands there until the thundering herd has dried up, then continues down to the first floor, behind a man in khaki cargo shorts and a woman in unfortunate plaid slacks. For a moment he's forced to stop, probably because there's a jam-up in the door giving on the first-floor lobby. This makes him nervous, because folks from the upper floors will soon be coming down these stairs. Some of them will be people from five.

Then the crowd gets moving again, and five seconds later—while Jim, John, Harry, and Phil are still looking out from high above, Billy hopes—he's in the lobby. Irv Dean has abandoned his post. Billy can see him on the plaza, easy to pick out in his blue security vest. Colin White in his bright orange shirt is also easy to
pick out. He's got his phone raised, taking video of the confusion: cops running up the street toward the smoke billowing from between the Sunspot Café and the travel agency next door, cops and bailiffs shouting for people to go back into the courthouse and shelter in place, people running down from more smoke on the corner, yelling their heads off.

Colin isn't the only one taking video. Others, apparently feeling that a raised iPhone makes them invulnerable, are doing the same. But they are the minority, Billy sees as he steps outside. Most people just want to get away. He hears someone yell
Active shooter!
Someone else is shouting
They bombed the courthouse!
Another bawls
Armed men!

Billy cuts across the plaza to the right, onto Court Street Place. This short tree-lined diagonal will take him to Second Street, which runs behind the parking garage. He's not alone, over three dozen people are ahead of him and at least that many behind him, all using this route away from the chaos, but he's the only one who pays attention to the DPW Transit van parked at the curb. Dana is behind the wheel. Reggie, dressed in the regulation city coverall, is standing by the back door and scanning the crowd. Most of those fleeing Court Street are talking on their phones. Billy wishes he could pretend to do the same, but the Dalton Smith phone is in his jeans, under the parachute pants. A missed opportunity, but you can't think of everything.

He knows better than to drop his head because Dana or Reggie might notice that (more likely Dana), but he moves up beside a plump woman who is panting and holding her pocketbook to her breasts like a shield. As they approach the van, Billy turns his head to her and raises his voice in an approximation of Colin White's when Colin's doing his I'm-the-gayest-of-them-all shtick. “What
happened
? Oh my
God
, what
happened
?”

“Some kind of terrorism thing, I think,” the woman replies. “Jesus, there were
explosions
!”

“I
know
!” Billy cries. “Oh my God, I
heard
!”

Then they're past. Billy risks one quick look over his shoulder. He has to make sure they aren't looking at
him
. Or coming after him. They're not. More people than ever are now using Court Street Place to get away; they crowd the sidewalk. Reggie is scoping them hard, standing on his tiptoes, trying to catch sight of Billy. Presumably Dana is, too. Billy speeds up, leaving the plump woman behind, weaving around others. Not quite race-walking, but almost. He turns left on Second Street, left again on Laurel, then right on Yancey. The exodus is behind him now. A young guy on the street grabs Billy by the shoulder, wanting to know what the hell is going on.

“I don't know,” Billy says. He shakes free and walks on.

Behind him, sirens rise in the air.

His laptop is gone.

Billy yanks out the packing paper, now splattered with globs of Chinese food from the overflowing dumpster, and uncovers nothing but old cobblestones. His mind sideslips back to Fallujah and the baby shoe. To Taco saying
You keep that thing safe, brah
. He kept it tied to his belt loop by the laces, bouncing against his hip with the rest of the things he carried. That they all carried.

He doesn't need the fucking laptop, he has the flash drive with Benjy's story on it, Rudy “Taco” Bell and the others still unwritten but waiting in the wings. He can go on once he gets to the basement apartment. There's nothing on the lappie to connect him to his Dalton Smith life, even if someone, some supergeek out of a movie, could crack the password. The only connection to his Dalton Smith life besides the Jensens is Bucky Hanson, and he has only communicated with Bucky on a phone that no longer exists.

So let it go. No choice and no loss.

But it feels like such bad luck. Such a bad omen. Almost like a final summation of a shit job he should have known better than to take.

He pounds his fist against the side of the dumpster hard enough to hurt and listens to the sirens. Right now he's not worried about police, they are all headed to the courthouse, where some major clusterfuck is going down, but he has to worry about Reggie and Dana. Once they get tired of waiting, they'll either conclude Billy's gotten trapped in Gerard Tower or that he's crossed them up. They can't do anything if he's still in the building, but if he's decided to abandon the plan and strike out on his own, they can start cruising the streets and looking for him.

It's not like the baby shoe, Billy thinks. And hell, the baby shoe wasn't magic either, just magical thinking. The shit that happened after I lost it means nothing. Fortunes of war, baby, and so is this. Someone found the lappie and stole it, it's gone, and you have to get under cover before that Transit van shows up, rolling slow.

He thinks of Dana Edison's sharp little eyes behind those rimless spectacles. Billy got past those eyes once and doesn't want to risk giving the man a second chance. He has to get to the basement apartment on Pearson Street, and fast.

Billy gets to his feet and hurries to the mouth of the alley. He sees a few cars but no Transit van. He starts to turn right, then freezes, amazed and disgusted at his own stupidity. It's as if the
dumb self
has become his real self. He was just about to head for Pearson Street still wearing the wig, the Rolling Stones jacket, and the fucking parachute pants. Like wearing a neon sign saying CHECK ME OUT.

He runs back down the alley, stripping off the wig and jacket as he goes. Behind the dumpster again, he frees the waistband granny knot holding up the idiotic parachute pants, pushes them down, and steps out of them. He squats and bundles everything together. He shoves the bundle as deep as he can under the crumpled heaps
of bespattered packing paper… and touches something. It's hard and thin. Can it be the brim of a gimme cap?

It is. Did he really push it that far behind the dumpster? He tosses it aside and reaches in deeper, leaning his shoulder against the dumpster's rusty side, the smell of Chinese food a miasma. His outstretched fingers brush something else. He knows what it is and can't believe it. He stretches further, his cheek now against the dumpster's rusty side, and grasps the handle of his laptop case. He pulls it out and looks at it unbelievingly. He could swear he didn't push it in that far, but it seems he did. He tells himself it's nothing like thinking he threw away the wrong phone, nothing at all like that, but it is.

Agreeing to be in this city so long was a mistake. Monopoly was a mistake. Having a backyard barbecue was a mistake. Knocking over those tin birds in the shooting gallery? Mistake. Having time to think and act like a normal person was the biggest mistake of all. He's not a normal person. He's a hired assassin, and if he doesn't think like who and what he is, he'll never get clear.

He uses a relatively clean swatch of the packing paper to wipe off the hat and the laptop case. He slings the strap over his shoulder and pulls on the gimme cap, which was once clean and is now grimy. He goes to the head of the alley and peers out again. A cop car comes squalling around the next corner, lights and siren. Billy pulls back until it passes. Then he heads out, walking briskly toward Pearson Street and the apartment building across from the demolished railway station. He thinks of Fallujah again, the endless sweeps through the narrow streets with the baby shoe bouncing against his hip. Waiting for the patrol to be over. Wanting to go back to the relative safety of the base a mile outside of town, where there would be hot food, touch football, maybe a movie under the desert stars.

Nine blocks, he tells himself. Nine blocks and you're home and dry. Nine blocks and this particular patrol is over. No movie under
the stars, that was Billy Summers, but Dalton Smith has both YouTube and iTunes on one of his AllTech computers. No violence, no explosions, just people doing zany things. Plus kissing at the end.