The Best American Noir of the Century

Little R. L. turned and jerked his father toward him by the front of his coat, hissing, “Shut the fuck up, old man.” Then he shoved him violently away, smashing the old man’s frail body into Benbow’s shoulder. Something cracked inside the old man’s body, and he sank to his knees, snapping at the cold air with his bloody beak like a gut-shot turtle. Benbow grabbed the pistol’s thong off his neck before the old man tumbled dead into the water.

Benbow cocked the huge pistol with a soft metallic click, then his sharp bark of laughter cut through the snowy air like a gunshot. Everything slowed to a stop. The doctor finished cutting the cord. The wrangler’s hands held a folded towel under Mona Sue’s head. Little R. L. held his gristled body halfway into a mad charge. Bald Bill stopped his aimless circling long enough to fall into the pool. Even Mona Sue’s cooing sighs died. Only the cold wind moved, whipping the steamy fog across the pool as the snowfall thickened.

Then Mona Sue screamed, “No!” and broke the frozen moment

The bad knee gave Benbow time to get off a round. The heavy slug took Little R. L. in the top of his shoulder, tumbled through his chest, and exited just above his kidney in a shower of blood, bone splinters, and lung tissue, and dropped him like a side of beef on the deck. But the round had already gone on its merry way through the sternum of the doctor as if he weren’t there. Which, in moments, he wasn’t.

Benbow threw the pistol joyfully behind him, heard it splash in the pool, and hurried to Mona Sue’s side. As he kissed her blood-spattered face, she moaned softly. He leaned closer, but only mistook her moans for passion until he understood what she was saying. Over and over. The way she once called his name. And Little R. L.’s. Maybe even the old mans. “Cowboy, Cowboy, Cowboy,” she whispered.

Benbow wasn’t even mildly surprised when he felt the arm at his throat or the blade tickle his short ribs. “I took you for a backstabber,” he said, “the first time I laid eyes on your sorry ass.”

“Just tell me where the money is, old man,” the wrangler whispered, “and you can die easy.”

“You can have the money,” Benbow sobbed, trying for one final break, “just leave me the woman.” But the flash of scorn in Mona Sue’s eyes was the only answer he needed. “Fuck it,” Benbow said, almost laughing, “let’s do it the hard way.”

Then he fell backward onto the hunting knife, driving the blade to the hilt above his short ribs before the wrangler could release the handle. He stepped back in horror as Benbow stumbled toward the hot waters of the pool.

At first, the blade felt cold in Benbow’s flesh, but the flowing blood quickly warmed it. Then he eased himself into the hot water and lay back against its compassionate weight like the old man the wrangler had called him. The wrangler stood over Benbow, his eyes like coals glowing through the fog and thick snow. Mona Sue stepped up beside the wrangler, Benbow’s baby whimpering at her chest, snow melting on her shoulders.

“Fuck it,” Benbow whispered, drifting now, “it’s in the air conditioner.”

“Thanks, old man,” Mona Sue said, smiling.

“Take care,” Benbow whispered, thinking, This is the easy part, then leaned farther back into the water, sailing on the pool’s wind-riffled, snow-shot surface, eyes closed, happy in the hot, heavy water, moving his hands slightly to stay afloat, his fingers tangled in dark, bloody streams, the wind pushing him toward the cool water at the far end of the pool, blinking against the soft cold snow, until his tired body slipped, unwatched, beneath the hot water to rest.

1996 JEFFERY DEAVER THE WEEKENDER

Jeffery Deaver (1950-) was born outside Chicago and received a journalism degree from the University of Missouri, becoming a newspaperman, then received a law degree from Fordham University, practicing law for several years. A poet, he wrote his own songs and performed them across the country.

One of the most prominent and consistently excellent suspense writers in the world, Deaver is the author of twenty-three novels and two short story collections. He has been translated into twenty-five languages and is a perennial bestseller in America and elsewhere. Among his many honors are six nominations for Edgar Allan Poe Awards (twice for Best Paperback Original, four times for Best Short Story); three Ellery Queen Readers’ Awards for Best Short Story of the Year; the 2001 W. H. Smith Thumping Good Read Award for The Empty Chair; and the 2004 Ian Fleming Steel Dagger Award from the British Crime Writers’ Association for Garden of Beasts. In 2009 he was the guest editor of The Best American Mystery Stories of the Year. He has written about a dozen standalone novels, but is most famous for his series about Lincoln Rhyme, the brilliant quadriplegic detective who made his debut in The Bone Collector (1997), which was filmed by Universal in 1999 and starred Denzel Washington and Angelina Jolie. Other Rhyme novels are The Coffin Dancer (1998), The Empty Chair (2000), The Stone Monkey (2002), The Vanished Man (2003), The Twelfth Card (2005), The Cold Moon (2006), and The Broken Window (2008). His nonseries novel A Maidens Grave (1995) was adapted for an HBO movie titled Dead Silence (1997) and starred James Garner and Marlee Matlin.

“The Weekender” was first published in the December 1996 issue of Alfred Hitchcock’s Mystery Magazine; it was selected for The Best American Mystery Stories 1997.

I looked in the rearview mirror and didn’t see any lights, but I knew they were after us and it was only a matter of time till I’d see the cops. Toth started to talk, but I told him to shut up and got the Buick up to eighty. The road was empty, nothing but pine trees for miles around.

“Oh brother,” Toth muttered. I felt his eyes on me, but I didn’t even want to look at him, I was so mad.

They were never easy, drugstores.

Because, just watch sometime, when cops make their rounds they cruise drugstores more often than anyplace else. Because of the prescription drugs.

You’d think they’d stake out convenience stores. But those’re a joke, and with the closed-circuit TV you’re going to get your picture took, you just are. So nobody who knows the business, I mean really knows it, hits them. And banks, forget banks. Even ATMs. I mean, how much can you clear? Three, four hundred tops? And around here the Fast Cash button gives you twenty bucks. Which tells you something. So why even bother?

No. We wanted cash and that meant a drugstore, even though they can be tricky. Ardmore Drugs. Which is a big store in a little town. Liggett Falls. Sixty miles from Albany and a hundred or so from where Toth and me lived, farther west into the mountains. Liggett Falls is a poor place. You’d think it wouldn’t make sense to hit a store there. But that’s exactly why—because like everywhere else people there need medicine and hairspray and makeup, only they don’t have credit cards. Except maybe a Sears or Penney s. So they pay cash.

“Oh brother,” Toth whispered again. “Look.”

And he made me even madder, him saying that. I wanted to shout, Look at what, you son of a bitch? But then I could see what he was talking about, and I didn’t say anything. Up ahead. It was like just before dawn, light on the horizon. Only this was red, and the light wasn’t steady. It was like it was pulsing, and I knew that they’d got the roadblock up already. This was the only road to the interstate from Liggett Falls. So I should’ve guessed.

“I got an idea,” Toth said. Which I didn’t want to hear but I also wasn’t going to go through another shootout. Sure not at a roadblock where they was ready for us.

“What?” I snapped.

“There’s a town over there. See those lights? I know a road’ll take us there.”

Toth’s a big guy, and he looks calm. Only he isn’t really. He gets shook easy, and he now kept turning around,