that.
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Chris Jordan
“Good,” says Ricky. “Then you know how to leave the
safety on, how not to fire it.”
“What’re you saying?” Roy asks.
“I’m saying the gun is for show. Don’t shoot nobody is
what I’m saying.”
“Okay,” says Roy. “I won’t.”
“Good. Little while, the aircraft will circle the field. It will
land from the east, over there,” Ricky says, indicating where
the long runway blends into the low scrub pine. “It will taxi
to us. First thing you do, when the engines shut down, you
come around from behind and put the chocks under the
wheels. Think you can do that?”
“I guess.”
“Make sure you come at it from the back of the plane,
behind the wing, so you don’t get your fool head cut off by
the props.”
“Okay.” Roy files it away, the propellers are dangerous,
watch out for the props.
“You just follow my lead,” Ricky says. “Wheels chocked,
okay? Next, we get the passengers out of the aircraft. There’s
a little door unfolds in the tail, that’s where they’ll exit. Don’t
show the gun till their feet’re on the ground.”
“How many passengers?” Roy asks, just to show that he’s
always thinking.
“One or two,” Ricky says, indifferent to the question.
“Whatever, you just hold the Glock on ’em. Don’t say noth-
ing, just look like you mean it. Don’t let ’em go back in the
plane but don’t shoot ’em. I’m doing all the shooting.”
Roy follows Ricky to his BMW, parked nearby. Dirt
adheres to the lower panels, fouling the hubs, probably mess-
ing up the brakes, too. Waste of a good car, Roy thinks, not
Trapped
39
meant for the backcountry. And then Ricky Lang, his scary
new boss, Ricky the crazy damn injun who is going to change
Roy’s life, he pops open the BMW trunk, produces an over-
size, odd-looking rifle. Almost a crossbow look to it, fitted
out with some sort of dartlike powerhead.
“What’s that?” Roy wants to know.
“Animal tranquilizers,” Ricky explains. Showing his white
teeth in a killer grin. “Works on people, too.”
8. Jumping Into The Bare Blue Sky
There are some things your eyes refuse to see. Sights un-
imaginable, or so out of context your brain can’t make sense
of them. That’s how it is with Kelly’s secret photo album. I’m
looking right at the pictures and still it doesn’t make any
sense. What would my daughter be doing on a runway, near
a small airplane? Why is she grinning so mischievously?
What is she holding up to the camera, some sort of backpack?
I know what it is but find it hard to even think the word,
let alone speak it aloud.
Parachute.
Must be a joke. She’s kidding around. Like those old trick
photos on Coney Island, where you stick your head through
a hole in the canvas and pretend to be a cowboy on a painted
horse. Like that.
More photos. Kelly climbing into the little airplane, wear-
ing a baggy jumpsuit and what looks like a crash helmet.
Kelly crouching inside the plane, giving a thumbs-up. Kelly
buddied-up with a handsome pilot, a young man with dark,
soulful eyes, gorgeous hair and white, white teeth. I didn’t
really get a good look at the guy on the motorcycle, but
something about the way this young man holds himself erect,
40
Chris Jordan
good posture even sitting down, something makes me think
this might be Seth.
If so, he’s way too old for a girl of sixteen. Old enough to
be a pilot—how old is that? Has to be at least twenty-one,
right? Or is it younger? Hard to say—they both look so
pleased with themselves, and happiness makes you look
younger. Whatever his age, no way is he in high school with
my daughter. He’s not a school kid. No droopy drawers and
skateboards for him. He’s into airplanes, motorcycles, high-
speed machines.
Have him arrested, that’s my first dark impulse. Send this
handsome, grinning man to jail. How dare he take my daughter
up in a small plane without my permission? How
Ben Aaronovitch, Nicholas Briggs, Terry Molloy