Thicker Than Blood - The Complete Andrew Z. Thomas Trilogy (33 page)

"Well, I appreciate you boys keeping him company last night. I brought your toolbox, Percy, so maybe we can fix your Kat good enough to get home. I always told him I’d kick the shit out of him if he left without a cell. What do you say there, Perce?" She glances at her husband, on Luther’s left.

"You report him missing to anyone?" Luther asks, staving off another wave of light-headedness. Pam steps forward, her head curiously tilted at her husband. Luther takes two shells of double-aught buckshot from his pocket.

"Not since I got you on the horn," she says, but she’s not looking at him. "Hey, Percy!" She removes her sunglasses, squints at her husband, then at Luther, befuddled. Blood runs over the tip of Luther’s left boot into the snow. "The hell’s wrong with him?"

"Oh, he’s dead."

She smiles, as though
Luther’d
made a joke, and comes a step closer. When she sees Percy’s throat, she looks at Luther, then at Orson, and screams. A raven launches out of the snow beside the shed, croaking bitterly. Pam turns and bounds back toward the
SnowKat
.

Luther breaks the breech of the shotgun and slides the shells home.

Three hours later, he unwinds on the front porch, sipping from a mug of black coffee. He is not void of kindness. He has allowed Pam and Percy to sit side by side, and even arranged Pam’s hand to rest in her husband’s lap. They will freeze together. That is not altogether unromantic.

"I’m going to bring you guys a new friend," he says. "How would you like that?" He looks over at Orson and slaps him on the back, an arctic slab of stone. "Don’t talk much, do you?" Luther guffaws.

He believes now that he is the perfection of Orson, and he burns with ecstasy.

A new thread of warm blood runs down his inner thigh….

Luther revives on his back, staring up into the ceiling of the covered porch, the spilt coffee already iced into the wool of his sweater. He sits up. The clouds are gone, the sun low in the sky, half-obscured behind that distant white bluff. Tingling specks of black have infiltrated his vision — particles of dying that will soon overtake him. A small blood puddle has frozen on the wood beneath his feet, rosy in the petering sun. He is blisteringly cold. The pain is back, but he does not respond to discomfort in the whimpering, human fashion. He is indomitable, though he should depart soon if he intends to survive the bullet Andrew Thomas put inside him.

He stands, takes up the shotgun, and staggers back into the cabin. At the end of the hallway, he unlocks the door of the guest room and kicks it open.

Andrew Thomas lies motionless on the bed.

"Get up," Luther says. He hasn’t entered the room since the previous night, when he dragged Andrew inside. With a pained exhalation, Andrew struggles to sit up against the logs. The quilt still wrapped around his shoulders, he shivers, his breath steaming.

"Come with me," Luther says.

Andrew looks up at him, vanquished. "I heard the shotgun. Are they all dead?"

"Come with me."

Orson’s brother looks down at the floor, tears filling his eyes. "Just kill me."

Luther falters. Lurching into the wall, blood dripping from the hem of his blue jeans, he tries to take aim. But the shotgun slips from his hands and he slumps down upon the stone.

*

I lift the shotgun from the floor and touch my finger to one of the triggers. When I place the barrel against Luther’s chest, I can taste the madness, and my God it’s sweet. I want to squeeze the trigger, feel the shotgun buck against my shoulder, and watch him bleed out on the stone. In short, I ache to kill him, which is precisely why I don’t.

I drag Luther, alive but fading, onto the porch and bind him with seventy feet of rope to the last available rocking chair. Then I lift the red fleece blanket I took from Orson’s bed and wrap it around Percy Madding and the woman beside him, who I assume was his wife. I want to bury them, but the ground is frozen beneath the snowpack. This is all I can do for the man who saved my life.

When I’ve managed to close Percy’s frosted eyelids, I wade out into the snow and turn and behold the dying and the dead.

The parting rays of a cold sun gild the spectacle of the front porch, a sight I will never be rid of: Percy Madding, his wife, Orson, and Luther Kite, each in a rocking chair, three dead, one not far behind.

It startles me when Luther speaks. He shivers now, his teeth clicking uncontrollably. I cannot imagine him surviving the night. I wonder whether he’ll bleed to death, or if the cold will claim him first.

"You stand there appalled," he says. "At what, Andrew?"

"At all this blood, Luther."

"We all want blood. We are war. That’s the code. War and regression and more and more blood. Tell me it doesn’t speak to you." Luther’s black hair whips across a pale, bloodless face. He awaits my reply, but I have none.

At last, I approach my brother. Our faces are inches apart. Orson’s eyes remain open, his mouth frozen into the slightest grin. The abject violation of the
Maddings
and every other human being he butchered consumes me, and I scream at him, raging, my voice filling the desert: "Is this beauty, Orson? Is this truth?"

Then, like a fever breaking, finally I start to cry.

Eastward, I glide across the snow toward 191 under the purple immensity of the Wyoming sky, and the madness diminishes as the cabin falls farther behind. I wonder if Luther is dead yet. I wonder many things.

The skis scrape across the pavement, and I bring the snowmobile to a halt on the other side of the road. Alighting, I unfasten the two suitcases filled with clothes and the contents of Orson’s drawer. I sit down on the shoulder. The highway has been plowed — the only snow on the road is windblown powder. All is still. My left arm throbs, but luckily, Percy was wrong. The bullet tore through — I extracted the mushroom of lead from the back of my shoulder this morning.

The sun is gone. Ancient images of stars and planets commence filling the night sky.

The moon crawls above the Winds at my back, and I cast a lunar shadow across the road. The empty,
pruinose
highway stretches on, north and south, as far as I can see.

I’m so cold. I stand and stamp my feet on the road. Instead of sitting back down on the shoulder, I walk out into a thigh-deep drift and make a snow angel. Lying flat on my back, a wall of white enclosing me, all I can see now is the cosmos, and all I can feel is the steady infusion of cold.

My thoughts become electric.

I think of Orson’s poem. Defiant. Courageous perhaps.

If we’d never stepped into your tunnel, we’d still be in this desert.

Mom…

Walter…

I will not be returning to North Carolina.

As the cold strengthens, the madness seems to ebb, and my mind clears.

Peace overruns me.

I’m nearly asleep when the distant mumble of a car engine reaches me. For a moment, I consider whether I should lie here and die. I’ve stopped shivering, and false warmth flows through me.

I struggle to sit up. Headlights appear, heading northbound out of Rock Springs. I rise, brush the snow from my clothes, and trudge stiffly into the road. A transfer truck, I predict, and standing on the dotted line, I wave my arms when the beam strikes me.

Much to my surprise, the bumper of a long white suburban stops ten feet from my waist.

The driver’s window lowers at my approach, and a man several years my junior smiles until he sees the bruises that blacken my face. Elbows on the console, his pretty wife looks warily at me, the side of her face lit blue by the lucent dashboard clock. Three children sleep in the backseat, spread across one another in a tangle of small sibling appendages.

"Are you all right?" the husband asks.

"I don’t know. I just…I need a ride to the next town. Wherever you’re going. Please." The man glances at his wife. Her lips purse.

"Where’s your car?"

"I don’t have one."

"Well, how’d you get here?"

"Will you please take me to the next town? You’re the only car that’s passed all night."

The man turns once more to his wife, their eyes consulting.

"Look, we’re going to visit family in Montana," he says. "But Pinedale is about fifty miles up the road. We’ll take you that far. You can hop in through the back."

"Thank you. I’ll grab my things."

"Richard," his wife mutters.

I lift my suitcases from the snow and walk to the back of the suburban. Opening the cargo doors, I stow my luggage on the floor and climb inside.

"Please keep it down back there," the wife whispers. "We want them to sleep through the night." She motions to her children as though she were displaying jewels.

The rear bench seat has been removed, so I find a place on the floor amid the family’s luggage: a red cooler, canvas bags, suitcases, a laundry basket filled with toys. With my suitcases at my feet, I curl up against the cooler and draw my knees into my chest. We begin to move, and I stare out the back window, watching the linear moonlit strip of highway spooling out beneath the tires with increasing speed.

We climb subtly for a half hour. Then we’re cruising along a plateau, and I’m looking back across the desolate flatland, scanning for two black specks in the sea of snow.

In the front seat, the woman whispers to her husband, "You’re a sweet man, Rich." She strokes the back of his neck.

The vents channel warmth into my face, and the speakers emit a solacing oceanic ambience: sparse piano, waves and seagulls, the calming voice of a man reading Scripture.

And as Orson, Luther, and the
Maddings
harden on the cabin porch, in the massive
desertic
silence, I bask in the breathing of the children.

FOREWORD TO LOCKED DOORS

This book was born over Thanksgiving in 2002. Instead of going home to spend the holiday with our families, my wife and I decided to do Thanksgiving just the two of us in the North Carolina Outer Banks. I'd heard they were haunting and beautiful, and on some subconscious level, I'm sure I was hoping the setting would inspire me for the Desert Places sequel, which I was struggling to conceptualize.

We decided to stay in a B&B on the remote island of Ocracoke, so the day before Thanksgiving, we left our apartment in Chapel Hill and headed east.

It was during the ferry ride over to Ocracoke when I started to get excited.

These barrier islands felt like they existed at the edge of the world—narrow spits of land with the Pamlico Sound on one side, the Atlantic on the other, and a slate-gray November sky hanging over it all.

The island itself was even better.

Small. Quaint. Quiet. Completely off the beaten path.

The beaches were practically empty.

The lighthouse was spooky.

The live oaks with their Spanish moss draping from the branches looked like a southern gothic nightmare.

But what really blew my hair back was the island just across the inlet to the south of Ocracoke.

Portsmouth.

It had an abandoned village on the north side, and it was during my tour of that ghost town by the sea, that the story of what would become Locked Doors finally hit home. I knew I had to set the Desert Places sequel there. Suddenly, I saw it all so clearly, and it was the exquisite scenery of the Outer Banks that made that happen.

So I hope you enjoy the book, and if you ever have the opportunity to visit the North Carolina Outer Banks, in particular Ocracoke Island, don't hesitate.

I haven't begun to do them justice.

Blake Crouch