World of Trouble (The Last Policeman #3)(9)

And then when I went back to find him, to demand of him where the hell she had gone, I found Abigail instead, baffled and abandoned Abigail, and from her I got here—to Ohio, to Rotary, to a door in the floor.

“We have to get down there.”

“Well, I’ll tell you,” says Cortez. “It might be impossible.”

“We have to.”

Cortez blows his smoke rings and the both of us stare at the floor. Jordan is down there, I know that he is, and Nico is down there too, separated from me only by this layer of cold rock, and all we have to do is peel it up and out of the way. I breathe—I sing a line of something—I am trying to get my feverish and overextended mind to slow, stop galloping long enough to make a plan, develop a strategy, when my dog races into the room, skidding on his small heels, claws scrabbling on the concrete. There’s something wrong. He’s barking like mad, barking to wake the dead.





4.


“It’s probably a possum,” says Cortez, breathing hard as we charge like maniacs through the woods. “Stupid dog probably wants to show you a squirrel.”

It’s not a possum. It’s not a squirrel. That much I can tell from the way that Houdini is hurtling forward, all sparked up, racing and bounding despite that limp, a distinct stutter step as he careens through the undergrowth. We run after him, Cortez and I, through the dense woods that back up against the police station, crashing through the brush like the world is on fire. It’s not a possum or a squirrel.

We tumble down a westward slope, along the muddy bank of a small creek, deeper into the woods, and then at last we come out in a small clearing, a leafy mud-specked oval maybe twenty-five feet around. Cortez and I step over a line of high bushes to get in there while Houdini noses under, tearing new cuts in his hide, not caring. Cortez has a hatchet clutched tightly in one fist, and there is, I know, a sawed-off shotgun in the deep inside pocket of his long black coat. I draw my own weapon, the SIG Sauer, and hold it out ahead of me two-handed. The three of us form a semicircle at the edge of the clearing: man, dog, man, all panting, all staring at the body. It’s a girl, facedown in the dirt.

“Christ,” says Cortez. “Christ almighty.”

I don’t answer. I can’t breathe. I take a step into the clearing, steady myself. The image disappearing, reappearing, my vision clouding and unclouding. The girl is fully clothed: Denim skirt. Pale blue top. Tan sandals. Arms thrown out in front of her as if she had died swimming, or reaching for something.

“That her?” Cortez says quietly. In three strides I’m across the clearing to the body, and by the time I get there I know that it’s not—the hair is wrong, the height. My sister has never worn a jean skirt. I manage the word: “No.”

My body floods with relief—and then, immediately, guilt, crashing in like a second wave while the first is still ebbing. This girl is not my sister but she is somebody’s sister, or daughter, or friend. She is somebody’s something. She was. Facedown in the dirt in the woods, arms extended. Caught after a chase. Six days to the end.

Cortez steps up next to me, the hatchet clenched like a caveman’s club. We’re a quarter mile into the stillness of the forest and you can no longer see the one-story police station behind us, or the small town of Rotary that is down the hill on the other side of the woods. We might as well be miles deep into timberland, lost in a green-brown fairy world, surrounded by wildflowers and mud and the curled yellow leaves that have drifted down to coat the forest floor.

I kneel beside the body of the girl and roll her over, gingerly brush the dirt and wood chips off her cheeks and out of her eyes. She’s Asian. Pretty. Fragile features. Black hair, pale cheeks. Thin pink lips. Small gold stud earrings, one in each ear. She’s been in a fight; her face shows multiple lacerations and bruises, including a black eye, the right eye, swollen almost shut. And the girl’s throat is cut from end to end, one side to the other, a terrible slash beginning at a point just beneath her right ear and traveling in a curved line to a point just below her left. The sight is flatly horrific, the red vision of her throat’s insides, wet and raw, gashed out of the pale white flesh. Blood is dried in clustered drips along the length of the wound.

Cortez takes one knee in the mud beside me and murmurs: “Our Father, who art in heaven.” I glance at him questioningly and he looks up, smiling but uneasy.

“I know,” says Cortez. “I’m full of surprises.”

I’m looking at the corpse, at her neck, thinking about the rack over the kitchen sink, butcher’s knife, paring knife, cleaver, everything splattered and stained with blood, and then I am about to stand up and she breathes—a tiny but distinct movement of her chest, and then another. Rise and fall.

“Whoa—” I say, “Hey—” and Cortez says “What?” while I scramble to find her pulse point, inches below her Adam’s apple, under the horrible wound. There it is, the faint cry of a pulse, a thready gallop under my fingertips.

She has no business being alive, this kid, throat slit and lying in the woods, but there you go, here she is. I bend my head down close and listen to the shallow breaths. She’s desperately dehydrated, tongue thick and dry and lips cracked.

Very carefully, very gently, I lift the girl and arrange her weight in my arms, supporting her head in the crook of my arm like a newborn baby’s.