her face—lifted the pistol and fired two quick shots at her. She saw the small flashes, but never heard the slugs go by, because she was already moving, running through the jumble of weeds and concrete along the bank, frantic to get away from the gun.
Moving just a fraction slower than she might have, had her hands been empty: but a bum and a drunk would never drop a half-full bottle of pinot, not if there was an alternative.
Behind her, a thrashing. Trey fell, saved the bottle by rolling, clambered to her feet, looked back, was shocked to see the killer only fifty feet away and closing. She ran, scrambling, heard him fall and cry out, ran some more, fell, smashed the bottle, cried, “Motherfucker,” turned and saw him, still coming, even closer, saw him go down again, ran a few more steps, the darkness now closing down like velvet, looked back, saw him coming, thirty feet away, catching her . . .
He stopped and fired again, and she imagined that the slug went through her hair; fired again, and now he was so close that she couldn’t imagine him missing her, but he did. Running and shooting was hard, and he wasn’t trained.
But he was going to catch her. She went down again, felt the rocks under her knees, and he was right there. She dug in her pocket. A helpless Mexican bum in Los Angeles, selling the last thing he owned so he could buy a little food, had given her a six-inch switchblade with a curved yellow plastic handle, for six dollars. She’d carried it for two years, more as a comfort than as a weapon, but now she dug it out, nearly dropped it, pushed the button and the blade sprang out, turned, desperate, not ready to die . . .
The killer was there, three feet away, and he pointed the gun at her and pulled the trigger . . . and nothing happened.
He said, almost conversationally, “Shit.”
Trey went after him with the knife. She didn’t like to fight, but she wasn’t bad at it. Not for a woman her size. She knew to shout, too. She screamed, “I’m gonna cut your fuckin’ face off, motherfucker . . .” and she was right at him, slashing at him, and he put up his gun arm to fend her off and she slashed his arm, and he screamed and backed away from her, and she went for his face.
He looked around, backed away, then said, “I’ll come and get you.” He turned and half ran, half walked, into the dark, back toward the lights of Garfield Avenue.
A minute passed, then another. Trey could hear her own heart beating, hear her breath, harsh, grating as she gasped for air. A car started, out in the wasteland between Garfield and the docks, and she saw the taillights, tall and vertical, with smaller lights below, a scarlet exclamation point.
S HE LOOKED AROUND : she was only a hundred feet from the dock. Her flight had gone almost nowhere, with all the falls on the rough ground. Still trying to catch her breath, her body trembling with the adrenaline, she made her way slowly back to the dock. The knife was slippery in her grasp, and she thought it must be blood: she pushed the blade back into its groove with the heel of her hand, dropped the knife in her pocket, wiped her hands on her pants.
At the edge of the dock pad, she squatted in the weeds, looking around. No sign of anybody living, just the body stretched on the concrete. After a moment, scared, but powerfully tempted, she moved out of the weeds and then stole toward the body like a hungry cat looking for something to eat.
“Are you okay?” she called out loud. Stupid. The man in the leather coat was dead. She knew he was dead. She saw him killed. He lay unmoving, like a six-foot paperweight, like a leather-jacketed anvil, spread legged on the concrete.
She squatted next to him, groped under his hip for a wallet. There was a thickness there, but no wallet. Next she went into his jacket; and found a wallet, took it, shoved it into the briefcase that lay by the man’s hand. She looked around again, stepped away toward the safety
Christopher Knight, Alan Butler