What Have We Done (5)

Nico stares at the railroad tracks and the old handcar that looks like something out of an Indiana Jones movie. The cast complains about the handcar too, since it bears no resemblance to the mantrips that real miners use to travel through the tunnels. But it makes for good television. In the cliff-hanger for Season 1, they filmed a scene in which the brakes just so happened to go out. Nico’s convinced that Davis, the network asshole who’s been trying to muscle in on Nico’s job, had someone grease the brakes. The cast had similar suspicions but forgave Davis the moment the scene went viral on social media. Maybe Nico should be more like Davis. Yeah, he should’ve hidden a camera for this meeting with Roger tonight. A secret meeting that could stir up trouble with the others. Great content for a new episode, but Nico has his limits when it comes to orchestrating drama. It’s the only area of his life where he has limits.

He hears the noise of the elevator, the rickety pile of rusted metal. It’s nearly ten o’clock, which

means Roger—who insists on being called Maverick (coal miners live for their nicknames)—will have several shots of Jim Beam in him.

The doors to the elevator rattle open. Nico hates that contraption. It’s going to be the death of someone, he’s convinced. Oh, wouldn’t Davis love that? The ratings would go through the roof.

The figure moves toward him.

Holding up the flashlight, Nico says, “Geez, Roger, what’s with all the cloak-and-dagger? Your text said—”

Nico stops when the figure clicks on the lamp of a miner’s helmet. It’s a blinding beam, stronger than a typical head lamp.

Nico squints, holds up a hand to shield his eyes. He can make out that the figure is shorter than six-two Roger. His danger antenna starts sending signals, raising the hairs on the back of his neck.

“This is private property,” Nico says in a firm tone, trying to keep the tremor out of his voice. “I know the sheriff, so you’d best be on your way before—”

He stops when the figure’s lamp turns off, leaving Nico’s eyes spotted by the afterglow. He hears gravel crunching, the figure running at him, then hears a strange sound like a hydraulic pump.

Then there’s a fire in his shoulder. He’s on the ground.

It’s only a millisecond before he scrambles to his feet and hauls ass. After years evading the leg breakers when he couldn’t keep up with the vig, he knows what’s coming.

Nico races down the tunnel and dives onto the handcar. The beam from the miner’s helmet is on him again, his own shadow skittering ahead. He turns quickly and sees the figure walking slowly toward him, Jason from the horror movie, carrying something that looks like a baton or cylinder.

What in the holy fuck? The light is getting closer as he settles into the handcar, his shirt damp with blood and sweat. Nico grabs the lever and tugs down with everything he has. His other arm feels like it’s been branded by a cowpoke.

The railcar pushes forward. He needs to get the fuck out of there, crank that lever harder.

He ducks low, puts his weight on the lever, the ray from the assailant’s helmet bathing him in light. Nico cranks harder, the railcar picking up pace. He uses his good arm and marshals all his strength to pump the crank. The light behind him is getting dimmer as the car bumps along the tracks.

He thinks he hears footfalls behind him, but he keeps cranking, moving faster. They fixed the brakes on this thing at least, but the tracks will end soon. He’ll have to turn and fight if the attacker follows. He does not intend to die in this shitty mine, that’s for sure.

He cranks and cranks until the light mercifully disappears.

Deep in the tunnel now, darkness envelops him. He yanks out his iPhone. It won’t work down here, but there’s a flashlight.

No, it will draw the figure to him. He keeps gliding down the tracks, letting the cart slow, knowing there’s a dead end. He doesn’t want to plow into the bumper.

His heart continues to pound, he’s drenched in panic sweat, but the car finally comes to a stop.

It’s pitch-black. He listens, fear and blood loss making him tremble.

More silence.

Then, a joyous sound. The rattle of the elevator’s motor. The attacker is leaving. Thank. Fucking.

God.

He feels a wave of relief, but adrenaline still has him wired. He clicks on the phone’s flashlight, gasps at his blood-soaked shirt.

All is quiet, the elevator up top now. He needs to get out of there, get to a hospital, but he decides to wait a little longer to give the attacker time to leave the mine site.

Then he hears it.

A deep, loud boom.

The railcar shakes and a snapping sound comes from above.

In a split second, he realizes the grim reality. An explosive detonated.

There’s a loud rumble, a cloud of black dust fills the tunnel, and everything goes dark.





CHAPTER FOUR

JENNA

Jenna doesn’t want to do this. But she has no choice, she knows. She prays the target is a bad guy. She used to tell herself that they were all bad guys. But the truth is, she had no idea. And the harder truth: The longer she was on the job, the more difficult it became to tell the bad guys from the good. Wealth and power can hide monsters in plain sight.

This isn’t happening. She was supposed to be out.

But it is happening. The woman’s voice tackles her thoughts: You’d better. For Simon, Willow, and Tallulah’s sake.