Page 159
Story: Never Flinch
“Can’t do what?” he asks. “What is it?”
She points at the round gray building, just visible through the trees. “Barbara.”
Jerome tenses. “What about her?”
“In there. Crazy man got her. Gibson. From the Mingo. He said get there by 7:40 or he’d kill her, but I cain’t… legs just give out.”
He’s up at once, but Betty grasps his wrist with surprising force. “You cain’t, either. He wants me to knock and say, ‘It’s me.’ If he hears a man, he’ll kill her.”
For a moment Jerome entertains the idea that this is all some crazy delusion on Betty’s part, maybe even early-onset Alzheimer’s, but it’sBarbara she’s talking about,Barbara, and he can’t allow himself that luxury.
Betty is saying something else, but he doesn’t listen. Jerome takes the gun and runs for the Holman Rink.
11
7:40 PM.
Trig gets up and walks down to the penalty box. He points the .22 first at Corrie, then at Barbara. “Which of you is first?” he asks. “I think the white girl.”
He puts the gun against Corrie’s temple. Corrie closes her eyes and waits to see if there’s anything on the other side of the known world. Then the pressure of the gun barrel is removed.
“All right, Daddy. If you say so.”
Corrie opens her eyes. Trig is stepping over the wooden ties, heading back to the foyer. He speaks to them without turning around. “Daddy says give her five more minutes. Daddy says women are always late.”
12
Holly can’t believe what she’s seeing: Jerome.
He comes running out of the trees with a little pistol in his hand. He sees her and stops, every bit as startled as Holly is herself. He’s going to say or shout something—she can see him getting ready to do it—and so she puts a finger to her lips, shaking her head. She beckons to him, realizing as she does it that it’s Kate’s gesture:C’mon, c’mon, c’mon. As he starts toward her, she pushes both hands down in aquietgesture.
Jerome reaches her and puts his lips to her ear. “You have to say, ‘It’s me.’ I can’t do it. And sound like her.”
“Sound like who?” Holly whispers.
“Betty,” he whispers back. “Sista Bessie.”
“I can’t—”
“You have to,” he whispers. “Knock and say, ‘It’s me.’ Or he’ll kill Barbara.”
Not just Barbara, Holly thinks.
Jerome points at his watch and whispers, “We’re out of time.”
13
7:43 PM.
He decides he doesn’t want to shoot anyone but himself.
Trig goes back into the arena, stepping over the boards until he reaches the paper-stuffed square at center ice. He squirts on a little more of the Kingsford fluid, then takes out his Bic. As he kneels, preparing to strike a light, there’s a hammering on the door. He freezes for a moment, not sure what to do.
Why choose, Mr. Useless?Daddy asks.You can do both.
Trig decides Daddy is right. He strikes a light and drops the Bic onto the crumpled posters. Fire blooms in the square of old dry wood. He looks at the bound women, their eyes wide with horror.
“Viking funeral,” he says. “Better than my mother got. My mother isgone.” And goes to answer the door.
She points at the round gray building, just visible through the trees. “Barbara.”
Jerome tenses. “What about her?”
“In there. Crazy man got her. Gibson. From the Mingo. He said get there by 7:40 or he’d kill her, but I cain’t… legs just give out.”
He’s up at once, but Betty grasps his wrist with surprising force. “You cain’t, either. He wants me to knock and say, ‘It’s me.’ If he hears a man, he’ll kill her.”
For a moment Jerome entertains the idea that this is all some crazy delusion on Betty’s part, maybe even early-onset Alzheimer’s, but it’sBarbara she’s talking about,Barbara, and he can’t allow himself that luxury.
Betty is saying something else, but he doesn’t listen. Jerome takes the gun and runs for the Holman Rink.
11
7:40 PM.
Trig gets up and walks down to the penalty box. He points the .22 first at Corrie, then at Barbara. “Which of you is first?” he asks. “I think the white girl.”
He puts the gun against Corrie’s temple. Corrie closes her eyes and waits to see if there’s anything on the other side of the known world. Then the pressure of the gun barrel is removed.
“All right, Daddy. If you say so.”
Corrie opens her eyes. Trig is stepping over the wooden ties, heading back to the foyer. He speaks to them without turning around. “Daddy says give her five more minutes. Daddy says women are always late.”
12
Holly can’t believe what she’s seeing: Jerome.
He comes running out of the trees with a little pistol in his hand. He sees her and stops, every bit as startled as Holly is herself. He’s going to say or shout something—she can see him getting ready to do it—and so she puts a finger to her lips, shaking her head. She beckons to him, realizing as she does it that it’s Kate’s gesture:C’mon, c’mon, c’mon. As he starts toward her, she pushes both hands down in aquietgesture.
Jerome reaches her and puts his lips to her ear. “You have to say, ‘It’s me.’ I can’t do it. And sound like her.”
“Sound like who?” Holly whispers.
“Betty,” he whispers back. “Sista Bessie.”
“I can’t—”
“You have to,” he whispers. “Knock and say, ‘It’s me.’ Or he’ll kill Barbara.”
Not just Barbara, Holly thinks.
Jerome points at his watch and whispers, “We’re out of time.”
13
7:43 PM.
He decides he doesn’t want to shoot anyone but himself.
Trig goes back into the arena, stepping over the boards until he reaches the paper-stuffed square at center ice. He squirts on a little more of the Kingsford fluid, then takes out his Bic. As he kneels, preparing to strike a light, there’s a hammering on the door. He freezes for a moment, not sure what to do.
Why choose, Mr. Useless?Daddy asks.You can do both.
Trig decides Daddy is right. He strikes a light and drops the Bic onto the crumpled posters. Fire blooms in the square of old dry wood. He looks at the bound women, their eyes wide with horror.
“Viking funeral,” he says. “Better than my mother got. My mother isgone.” And goes to answer the door.
Table of Contents
- Page 1
- Page 2
- Page 3
- Page 4
- Page 5
- Page 6
- Page 7
- Page 8
- Page 9
- Page 10
- Page 11
- Page 12
- Page 13
- Page 14
- Page 15
- Page 16
- Page 17
- Page 18
- Page 19
- Page 20
- Page 21
- Page 22
- Page 23
- Page 24
- Page 25
- Page 26
- Page 27
- Page 28
- Page 29
- Page 30
- Page 31
- Page 32
- Page 33
- Page 34
- Page 35
- Page 36
- Page 37
- Page 38
- Page 39
- Page 40
- Page 41
- Page 42
- Page 43
- Page 44
- Page 45
- Page 46
- Page 47
- Page 48
- Page 49
- Page 50
- Page 51
- Page 52
- Page 53
- Page 54
- Page 55
- Page 56
- Page 57
- Page 58
- Page 59
- Page 60
- Page 61
- Page 62
- Page 63
- Page 64
- Page 65
- Page 66
- Page 67
- Page 68
- Page 69
- Page 70
- Page 71
- Page 72
- Page 73
- Page 74
- Page 75
- Page 76
- Page 77
- Page 78
- Page 79
- Page 80
- Page 81
- Page 82
- Page 83
- Page 84
- Page 85
- Page 86
- Page 87
- Page 88
- Page 89
- Page 90
- Page 91
- Page 92
- Page 93
- Page 94
- Page 95
- Page 96
- Page 97
- Page 98
- Page 99
- Page 100
- Page 101
- Page 102
- Page 103
- Page 104
- Page 105
- Page 106
- Page 107
- Page 108
- Page 109
- Page 110
- Page 111
- Page 112
- Page 113
- Page 114
- Page 115
- Page 116
- Page 117
- Page 118
- Page 119
- Page 120
- Page 121
- Page 122
- Page 123
- Page 124
- Page 125
- Page 126
- Page 127
- Page 128
- Page 129
- Page 130
- Page 131
- Page 132
- Page 133
- Page 134
- Page 135
- Page 136
- Page 137
- Page 138
- Page 139
- Page 140
- Page 141
- Page 142
- Page 143
- Page 144
- Page 145
- Page 146
- Page 147
- Page 148
- Page 149
- Page 150
- Page 151
- Page 152
- Page 153
- Page 154
- Page 155
- Page 156
- Page 157
- Page 158
- Page 159
- Page 160
- Page 161
- Page 162
- Page 163
- Page 164