Prey: Night Prey Part 1

NIGHT PREY.

by John Sandford.

For Esther Newberg.

1.

THE NIGHT WAS warm, the twilight inviting: middle-aged couples in pastel s.h.i.+rts, holding hands, strolled the old cracked sidewalks along the Mississippi. A gaggle of college girls jogged down the bike path, wearing sweatsuits and training shoes, talking as they ran, their uniformly blond ponytails bouncing behind them. At eight, the streetlights came on, whole blocks at once, with an audible pop. Overhead, above the new green of the elms, nighthawks made their skizzizk cries, their wing-flashes like the silver bars on new first-lieutenants.

Spring was shading into summer. The daffodils and tulips were gone, while the petunias spread across their beds like Mennonite quilts.

Koop was on the hunt.

He rolled through the residential streets in his Chevy S-10, radio tuned to Country-Lite, his elbow out the window, a bottle of Pig's Eye beer between his thighs. The soft evening air felt like a woman's fingers, stroking his beard.

At Lexington and Grand, a woman in a scarlet jacket crossed in front of him. She had a long, graceful neck, her dark hair up in a bun, her high heels rattling on the blacktop. She was too confident, too lively, moving too quickly; she was somebody who knew where she was going. Not Koop's type. He moved on.

Koop was thirty-one years old, but at any distance looked ten or fifteen years older. He was a wide man with a sharecropper's bitter face and small, suspicious gray eyes; he had a way of looking at people sideways. His strawberry-blond hair was cut tight to his skull. His nose was pinched, leathery, and long, and he wore a short, furry beard, notably redder than his hair. His heavy shoulders and thick chest tapered to narrow hips. His arms were thick and powerful, ending in rocklike fists. He had once been a bar brawler, a man who could work up a hate with three beers and a mistimed glance. He still felt the hate, but controlled it now, except on special occasions, when it burned through his belly like a welding torch. . . .

Koop was an athlete of a specialized kind. He could chin himself until he got bored, he could run forty yards as fast as a professional linebacker. He could climb eleven floors of fire stairs without breathing hard.

Koop was a cat burglar. A cat burglar and a killer.

KOOP KNEW ALL the streets and most of the alleys in Minneapolis and St. Paul. He was learning the suburbs. He spent his days driving, wandering, looking for new places, tracking his progress through the spiderweb of roads, avenues, streets, lanes, courts, and boulevards that made up his working territory.

Now he drifted down Grand Avenue, over to Summit to the St. Paul Cathedral, past a crack dealer doing business outside the offices of the archdiocese of St. Paul and Minneapolis, and down the hill. He drove a couple of laps around United Hospitals, looking at the nurses on their way to their special protected lot-a joke, that. He looked in at antique stores along West Seventh, drove past the Civic Center, and then curled down Kellogg Boulevard to Robert Street, left on Robert, checking the dashboard clock. He was early. There were two or three bookstores downtown, but only one that interested him. The Saint had a reading scheduled. Some s.h.i.+t about Prairie Women.

The Saint was run by a graying graduate of St. John's University. Books new and used, trade your paperbacks two-for-one. Coffee was twenty cents a cup, get it yourself, pay on the honor system. A genteel meat-rack, where shy people went to get laid. Koop had been inside the place only once. There'd been a poetry reading, and the store had been populated by long-haired women with disappointed faces-Koop's kind of women-and men with bald spots, potbellies, and tentative gray ponytails tied with rubber bands.

A woman had come up to ask, "Have you read the Rubaiyat?"

"Uh . . . ?" What was she talking about?

"The Rubaiyat of Omar Khayyam? I just read it again," she babbled. She had a thin book in her hand, with a black poetical cover. "The Fitzgerald translation. I hadn't read it since college. It really touched me. In some ways it's a.n.a.logous to the poems that James was reading tonight."

Koop didn't give a s.h.i.+t about James or his poems. But the question itself, Have you read the Rubaiyat? had a nice ring to it. Intellectual. A man who'd ask that question-Have you read the Rubaiyat?-would be . . . safe. Thoughtful. Considerate.

Koop hadn't been in the market for a woman that night, but he took the book and tried to read it. It was bulls.h.i.+t. Bulls.h.i.+t of such a high, unadulterated order that Koop eventually threw it out his truck window because it made him feel stupid to have it on the seat beside him.

He threw the book away, but kept the line: Have you read the Rubaiyat?

KOOP CROSSED I - 9 4 , then recrossed it, circling. He didn't want to arrive at the bookstore until the reading had begun: he wanted people looking at the reader, not at him; what he was doing tonight was out of his careful pattern. He couldn't help it-the drive was irresistible-but he would be as careful as he could.

Back across the interstate, he stopped at a red light and looked out the window at the St. Paul police station. The summer solstice was only two weeks away, and at eight-thirty, there was light enough to make out faces, even at a distance. A group of uniformed cops, three men, a couple of women, sat talking on the steps, laughing about something. He watched them, not a thing in his mind, just an eye. . . .

The car behind him honked.

Koop glanced in the left mirror, then the right, then up at the light: it had turned green. He glanced in the rearview mirror and started forward, turning left. In front of him, a group of people started across the street, saw him coming, stopped.

Koop, looking up, saw them and jammed on his brakes, jerking to a halt. When he realized they'd stopped, he started through the turn again; and when they saw him stop, they started forward, into the path of the truck. In the end, they scattered, and Koop swerved to miss a barrel-shaped man in coveralls who was not quite agile enough to get out of the way. One of them shouted, an odd cawing sound, and Koop gave him the finger.

He instantly regretted it. Koop was the invisible man. He didn't give people the finger, not when he was hunting or working. He checked the cops, still a half block away. A face turned toward him, then away. He looked in the rearview mirror. The people in the street were laughing now, gesturing to each other, pointing at him.

Anger jumped up in his stomach. "f.a.ggots," he muttered. "f.u.c.kin'-A f.a.gs. . . ."

He controlled it, continued to the end of the block, and took a right. A car was easing out of a parking place across the street from the bookstore. Perfect. Koop did a U-turn, waited for the other car to get out, backed in, locked the truck.

As he started across the street, he heard the cawing sound again. The group he'd almost hit was crossing the end of the block, looking toward him. One of them gestured, and they made the odd cawing sound, laughed, then pa.s.sed out of sight behind a building.

"f.u.c.kin' a.s.sholes." People like that p.i.s.sed him off, walking on the street. a.s.s-wipes, he oughta . . . He shook a Camel out of his pack, lit it, took a couple of angry drags, and walked hunch-shouldered down the sidewalk to the bookstore. Through the front window, he could see a cl.u.s.ter of people around a fat woman, who appeared to be smoking a cigar. He took a final drag on the Camel, spun it into the street, and went inside.

The place was crowded. The fat woman sat on a wooden chair on a podium, sucking on what turned out to be a stick of licorice, while two dozen people sat on folding chairs in a semicircle in front of her. Another fifteen or twenty stood behind the chairs; a few people glanced at Koop, then looked back at the fat woman. She said, "There's a shocking moment of recognition when you start dealing with s.h.i.+t-and call it what it is, good Anglo-Saxon words, horses.h.i.+t and pig s.h.i.+t and cow s.h.i.+t; I'll tell you, on those days when you're forkin' manure, the first thing you do is rub a little in your hair and under your arms, really rub it in. That way, you don't have to worry about getting it on yourself, you can just go ahead and work. . . ."

At the back of the store, a sign said "Photography," and Koop drifted that way. He owned an old book called Jungle Fever, with pictures and drawings of naked black women. The book that still turned him on. Maybe he'd find something like that. . . .

Under the "Photography" sign, he pulled down a book and started flipping pages. Barns and fields. He looked around, taking stock. Several of the women had that "floating" look, the look of someone reaching for connections, of not really being tuned to the author, who was saying, ". . . certain human viability from hand-hoeing beans; oh, gets hot, sometimes so hot that you can't spit. . . ."

Koop was worried. He shouldn't be here. He shouldn't be hunting. He'd had a woman last winter, and that should have been enough, for a while. Would have been enough, if not for Sara Jensen.

He could close his eyes and see her. . . .

SEVENTEEN HOURS EARLIER, having never in his life seen Sara Jensen, Koop had gone into her apartment building, using a key. He'd worn a light coat and hat against the prying eyes of the video cameras in the lobby. Once past the cameras, he took the fire stairs to the top of the building. He moved quickly and silently, padding up the stairs on the rubber-soled loafers.

At three in the morning, the apartment hallways were empty, silent, smelling of rug cleaner, bra.s.s polish, and cigarettes. At the eleventh floor, he stopped a moment behind the fire door, listened, then went quietly through the door and down the hall to his left. At 1135, he stopped and pressed his eye to the peephole. Dark. He'd greased the apartment key with beeswax, which deadened metal-to-metal clicking and lubricated the lock mechanism. He held the key in his right hand, and his right hand in his left, and guided the key into the lock. It slipped in easily.

Koop had done this two hundred times, but it was a routine that clattered down his nerves like a runaway freight. What's behind door number three? A motion detector, a Doberman, a hundred thousand in cash? Koop would find out. . . . He turned the key and pushed: not quickly, but firmly, smoothly, his heart in his mouth. The door opened with a light click. He waited, listening, then stepped into the dark apartment, closed the door behind him, and simply stood there.

And smelled her.

That was the first thing.

Koop smoked unfiltered Camels, forty or fifty a day. He used cocaine almost every day. His nose was clogged with tobacco tars and scarred by the c.o.ke, but he was a creature of the night, sensitive to sounds, odors, and textures-and the perfume was dark, sensual, compelling, riding the sterile apartment air like a naked woman on a horse. It caught him, slowed him down. He lifted his head, ratlike, taking it in. He was unaware that he left his own scent behind, the brown scent of old tobacco smoke.

The woman's living-room curtains were open, and low-level light filtered in from the street. As his eyes began to adjust, Koop picked out the major pieces of furniture, the rectangles of paintings and prints. Still he waited, standing quietly, his vision sharpening, smelling her, listening for movement, for a word, for anything-for a little red light from an alarm console. Nothing. The apartment was asleep.

Koop slipped out of his loafers and in sure-footed silence crossed the apartment, down a darker hallway past a bathroom to his left, an office to his right. There were two doors at the end of the hall, the master bedroom to the left, a guest room to the right. He knew what they were, because an ex-con with Logan Van Lines had told him so. He'd moved Jensen's furniture in, he'd taken an impression of her key, he'd drawn the map. He'd told Koop the woman's name was Sara Jensen, some rich c.u.n.t who was, "like, in the stock market," and had a taste for gold.

Koop reached out and touched her bedroom door. It was open an inch, perhaps two. Good. Paranoids and restless sleepers usually shut the door. He waited another moment, listening. Then, using just his fingertips, he eased the door open a foot, moved his face to the opening, and peered inside. A window opened to the left, and as in the living room, the drapes were drawn back. A half-moon hung over the roof of an adjoining building, and beyond that, he could see the park and the lake, like a beer ad.

And he could see the woman clearly in the pale moonlight.

Sara Jensen had thrown off the light spring blanket. She was lying on her back, on a dark sheet. She wore a white cotton gown that covered her from her neck to her ankles. Her jet-black hair spread around her head in a dark halo, her face tipped slightly to one side. One hand, open, was folded back, to lie beside her ear, as if she were waving to him. The other hand folded over her lower belly just where it joined the top of her pelvic bone.

Just below her hand, Koop imagined that he could see a darker triangle; and at her b.r.e.a.s.t.s, a shading of her brown nipples. His vision of her could not have been caught on film. The darkening, the shading, was purely a piece of his imagination. The nightgown more substantial, less diaphanous than it seemed in Koop's mind, but Koop had fallen in love.

A love like a match firing in the night.

KOOP PAGED THROUGH the photo books, watching, waiting. He was looking at a picture of a dead movie star when his woman came around the corner, looking up at "Hobbies & Collectibles."

He knew her immediately. She wore a loose brown jacket, a little too long, a bit out of fas.h.i.+on, but neat and well tended. Her hair was short, careful, tidy. Her head was tipped back so she could look up at the top shelves, following a line of books on antiques. She was plain, without makeup, not thin or fat, not tall or short, wearing oversize gla.s.ses with tortoisesh.e.l.l frames. A woman who wouldn't be noticed by the other person in an elevator. She stood looking up at the top shelf, and Koop said, "Can I reach something for you?"

"Oh . . . I don't know." She tried a small smile, but it seemed nervous. She had trouble adjusting it.

"Well, if I can," he said politely.

"Thanks." She didn't turn away. She was waiting for something. She didn't know how to make it happen herself.

"I missed the reading," Koop said. "I just finished the Rubaiyat. I thought there might be something, you know, a.n.a.logous. . . ."

And a moment later, the woman was saying, ". . . it's Harriet. Harriet Wannemaker."

SARA JENSEN, SPREAD on her bed, twitched once.

Koop, just about to step toward her dresser, froze. Sara had been a heavy smoker in college: her cigarette subconscious could smell the nicotine coming from Koop's lungs, but she was too far down to wake up. She twitched again, then relaxed. Koop, heart hammering, moved closer, reached out, and almost touched her foot.

And thought: What am I doing?

He backed a step away, transfixed, the moonlight playing over her body.

Gold.

He let out his breath, turned again toward the dresser. Women keep every G.o.dd.a.m.ned thing in the bedroom-or the kitchen-and Jensen was no different. The apartment had a double-locked door, had monitor cameras in the hall, had a private patrol that drove past a half-dozen times a night, occasionally stopping to snoop. She was safe, she thought. Her jewelry case, of polished black walnut, sat right there on the dressing table.

Koop picked it up carefully with both hands, pulled it against his stomach like a fullback protecting a football. He stepped back through the door and padded back down the hall to the living room, where he placed the case on the rug and knelt beside it. He carried a small flashlight in his breast pocket. The lens was covered with black tape, with a pinhole through the tape. He turned it on, held it between his teeth. He had a needle of light, just enough to illuminate a stone or show a color without ruining his night vision.

Sara Jensen's jewelry case held a half-dozen velvet-lined trays. He took the trays out one at a time, and found some good things. Earrings, several pair in gold, four with stones: two with diamonds, one with emeralds, one with rubies. The stones were fair-one set of diamonds were more like chips than cut stones. Total retail, maybe five thousand. He'd get two thousand, tops.

He found two brooches, one a circle of pearls, the other with diamonds, a gold wedding band, and an engagement ring. The diamond brooch was excellent, the best thing she owned. He would have come for that alone. The engagement stone was all right, but not great. There were two gold bracelets and a watch, a woman's Rolex, gold and stainless steel.

No belt.

He put everything into a small black bag, then stood, stepping carefully around the empty trays, and went back through the bedroom. Slowly, slowly, he began opening the dresser drawers. The most likely place was the upper left drawer of the chest. The next most likely was the bottom drawer, depending on whether or not she was trying to hide it. He knew this from experience.

He took the upper drawer first, easing it out, his hands kneading through the half-seen clothing. Nothing hard. . . .

The belt was in the bottom left-hand drawer, at the back, under some winter woolens. So she was a bit wary. He drew it out, hefting it, and turned back toward Sara Jensen. She had a firm chin, but her mouth had gone slightly slack. Her b.r.e.a.s.t.s were round and prominent, her hips substantial. She'd be a big woman. Not fat, just big.

Belt in his hands, Koop started to move away, stopped. He'd seen the bottle on the dressing table, and ignored it as he always ignored them. But this time . . . He reached back and picked it up. Her perfume. He started for the door again and almost stumbled: he wasn't watching the route, he was watching the woman, spread right there, an arm's length away, his breath coming hard.

Koop stopped. Fumbled for a moment, folding the belt, slipped it into his pocket. Took a step away, looked down again. White face, round cheek, dark eyebrows. Hair splayed back.

Without thinking, without even knowing what he was doing-shocking himself, recoiling inside-Koop stepped beside the bed, bent over her, and lightly, gently, dragged his tongue over her forehead. . . .

HARRIET WANNEMAKER WAS frankly interested in a drink at McClellan's: she had color in her face, the warmth of excitement. She'd meet him there, the slightly dangerous man with the mossy red beard.

He left before she did. His nerves were up now. He hadn't made a move yet, he was still okay, nothing to worry about. Had anybody noticed them talking? He didn't think so. She was so colorless, who cared? In a few minutes . . .

The pressure was a physical thing, a heaviness in his gut, an inflated feeling in his chest, a pain in the back of his neck. He thought about heading home, ditching the woman. But he wouldn't. There was another pressure, a more demanding one. His hand trembled on the steering wheel. He parked the truck on Sixth, on the hill, opened the door. Took a nervous breath. Still time to leave . . .

He fished under the seat, found the can of ether and the plastic bag with the rag. He opened the can, poured it quickly into the bag, and capped the can. The smell of the ether was nauseating, but it dissipated in a second. In the sealed bag, it quickly soaked into the rag. Where was she?

She came a few seconds later, parked down the hill from him, behind the truck, spent a moment in the car, primping. A beer sign in McClellan's side window, flickering with a bad bulb, was the biggest light around, up at the top of the hill. He could still back out. . . .

No. Do it.

SARA JENSEN HAD tasted of perspiration and perfume . . . tasted good.

Sara moved when he licked her, and he stepped back, stepped away, toward the door . . . and stopped. She said something, a nonsense syllable, and he stepped quickly but silently out the door to his shoes: not quite running, but his heart was hammering. He slipped the shoes on, picked up his bag.

And stopped again. The key to cat burglary was simple: go slow. If it seems like you might be getting in trouble, go slower. And if things get really bad, run like h.e.l.l. Koop collected himself. No point in running if she wasn't waking up, no sense in panic-but he was thinking a.s.shole a.s.shole a.s.shole.

But she wasn't coming. She'd gone back down again, down into sleep; and though Koop couldn't see it-he was leaving the apartment, slowly closing the door behind himself-the line of saliva on her forehead glistened in the moonlight, cool on her skin as it evaporated.

KOOP SLIPPED THE plastic bag in his coat pocket, stepped to the back of his truck, and popped the camper door.

Heart beating hard now. . . .

"Hi," she called. Fifteen feet away. Blus.h.i.+ng? "I wasn't sure you could make it."

She was afraid he'd ditch her. He almost had. She was smiling, shy, maybe a little afraid but more afraid of loneliness. . . .

n.o.body around. . . .

Now it had him. A darkness moved on him-literally a darkness, a kind of fog, an anger that seemed to spring up on its own, like a vagrant wind. He unrolled the plastic bag, slipped his hand inside; the ether-soaked rag was cold against his skin.

With a smile on his face, he said, "Hey, what's a drink. C'mon. And hey, look at this . . ."

He turned as if to point something out to her; that put him behind her, a little to the right, and he wrapped her up and smashed the rag over her nose and mouth, and lifted her off the ground; she kicked, like a strangling squirrel, though from a certain angle, they might have been lovers in a pa.s.sionate clutch; in any case, she only struggled for a moment. . . .

SARA JENSEN HIT the snooze b.u.t.ton on the alarm clock, rolled over, holding her pillow. She'd been smiling when the alarm went off. The smile faded only slowly: the peculiar nightmare hovered at the back of her mind. She couldn't quite recover it, but it was there, like a foot-step in an attic, threatening. . . .

She took a deep breath, willing herself to get up, not quite wanting to. Just before she woke, she'd been dreaming of Evan Hart. Hart was an attorney in the bond department. He wasn't exactly a romantic hero, but he was attractive, steady, and had a nice wit-though she suspected that he suppressed it, afraid that he might put her off. He didn't know her well. Not yet.

He had nice hands. Solid, long fingers that looked both strong and sensitive. He'd touched her once, on the nose, and she could almost feel it, lying here in her bed, a little warm. Hart was a widower, with a young daughter. His wife had died in an auto accident four years earlier. Since the accident, he'd been preoccupied with grief and with raising the child. The office gossip had him in two quick, nasty affairs with the wrong women. He was ready for the right one.

And he was hanging around.

Sara Jensen was divorced; the marriage had been a one-year mistake, right after college. No kids. But the breakup had been a shock. She'd thrown herself into her work, had started moving up. But now . . .

She smiled to herself. She was ready, she thought. Something permanent; something for a lifetime. She dozed, just for five minutes, dreaming of Evan Hart and his hands, a little bit warm, a little bit in love. . . .