Don Winslow - The Power of the Dog

And Jimmy’s irritated right now, thinking about Callan, because Callan has gotten-what?-moody, quiet, since they got out to California. And this makes Jimmy nervous because he needs Callan. And now Callan’s about to go upstairs to fuck the woman Peaches wants to fuck and that’s just not right because Peaches is the boss here.

There’s something else, though, that makes this argument dangerous, and they all know it, although no one in Piccone’s crew is ever going to utter the words out loud: Peaches is afraid of Callan.

Flat out, there it is. They all know that Peaches is good. He’s tough, smart and mean.

He’s stone.

But Callan.

Callan is the best.

Callan is the stone-coldest killer there’s ever been.

And Jimmy Peaches needs him and is scared of him, and that’s a volatile combination. That is nitro on a bumpy road, is what that is, O-Bop thinks. He doesn’t like this shit at all. He’s busted his ass putting them together with the Ciminos, they’re all making money and now it’s all going to go to shit over some gash?

“What the fuck, guys,” O-Bop says.

“No, what the fuck?” Peaches asks.

“I said no,” Callan repeats.

Peaches knows that Callan can whip that little. 22 out and put one between his eyes before any of them can blink. But he also knows that Callan can’t gun down the whole freaking Cimino Family, which is what he’ll have to do if he kills Peaches.

So that’s what Peaches has going for him.

Which really pisses Callan off.

He’s sick of being the guineas’ attack dog.

To hell with Jimmy Peaches.

To hell with him, Johnny Boy, Sal Scachi and Paulie Calabrese. Without taking his eyes off Peaches, he asks O-Bop, “You got my back?”

“I got your back.”

So there it is.

They got a situation here.

Which don’t look like it’s gonna end happy for him or anyone else, until Nora says, “Why don’t I decide?”

Peaches smiles. “That’s fair. Is that fair, Callan?”

“It’s fair.”

Thinking that it ain’t fair. That you get so close to beauty you can’t breathe and then it slips away. But what the fuck has fair ever had to do with it?

“Go ahead,” Peaches says. “Choose.”

Callan feels like his heart’s outside of him. Out there beating away where everyone can see it.

She looks up at him and says, “You’ll like Joyce. She’s beautiful.”

Callan nods.

“I’m sorry,” she whispers.

She is, too. She wanted to go with Callan. But Haley, now back in the room and doing her best to defuse the situation, has given her the eye, and Nora’s smart enough to understand she’s supposed to choose the gross guy.

Haley’s relieved. Tonight has to go well. Adan’s made it very clear that tonight is not about her business, it’s about his. And seeing as how Tio Barrera set her up with the money to open the place, she is going to take care of the Barrera family business.

“Don’t be sorry,” Callan says to Nora.

He doesn’t go with Joyce. Tells her, “No offense, but no thanks,” and goes and stands by the car. Pulls his. 22 and holds it behind his back a few minutes later when a car pulls up and Sal Scachi gets out.

He’s dressed California casual but he’s still got them polished army shoes on. Guineas and their shoes, Callan thinks. He tells Scachi to stop right there and keep his hands where he can see them.

“Hey, it’s the shooter,” Scachi says. “Don’t worry, Shooter, Jimmy Peaches got nothing to worry about from me. What Paulie don’t know.. .”

He gives Callan a little punch under the chin and goes into the house. He’s happy as hell to be there, because he’s spent the past few months in his green suit working on some CIA op called Cerberus. Scachi with a crew of other Forces guys putting up three radio towers in the fucking Colombian jungle, then keeping an eye on them to make sure the Communist guerrillas don’t knock them down.

Now he has to make sure Peaches gets hooked up with Adan Barrera. Which reminds him…

He turns around and calls to Callan.

“Hey, kid! There’s a couple of Mexican guys coming,” Scachi says. “Do me a favor-don’t shoot them.”

He laughs and goes into the house.

Callan looks up again at the light in the window.

Peaches does her hard.

Nora tries to slow him down, soften him, show him the sweet, slow things that Haley taught her, but the man isn’t having it. He’s hard already, from his victory downstairs. He throws her facedown on the bed, yanks her skirt and panties down and shoves himself inside her.

“You feel that, huh?” he says.

She feels it.

It hurts.

He’s big and she’s not nearly wet enough and he’s pounding at her, so she definitely feels it. Feels his hands reach under her and rip her bra off and start to squeeze her breasts hard and at first she tries to talk to him, to tell him that, but then she feels the anger and contempt come over her and she’s like, Knock yourself out, asshole, so she lets her pain out in cries he mistakes for pleasure so he rams her harder and she remembers to squeeze him so he’ll come but he pulls out.

“Don’t give me any of your fucking whore’s tricks.”

He turns her over and straddles her. Pushes her breasts together, then lays his cock between them and pushes it up toward her mouth.

“Suck it.”

She does.

She does it the best he’ll let her as he pistons in and out because she wants this over. He’s doing his own porno flick anyway, so it is over soon, as he grabs his cock and pumps it and lets himself loose on her face.

She knows what he wants.

She’s seen the movies, too.

So she takes some on her finger, swirls it into her mouth and looks him in the eyes as she moans, “Mmmmmm.”

And sees him smile.

When Peaches leaves she goes into the bathroom, brushes her teeth until her gums bleed and swishes Listerine around her mouth for a full minute until she spits it out. She takes a long, almost scalding shower, then puts on a robe, goes to the window and looks out.

She sees the nice one, the shy one, leaning against the car, and wishes he could have been her boyfriend.

Guadalajara

Mexico, 1984

Art Keller watches the DC-4 land.

He and Ernie Hidalgo sit in a car on a bluff overlooking theGuadalajara airport. Art continues to watch as Mexican federales help off-load the cargo.

“They don’t even bother to change out of their uniforms,” Ernie says.

“Why should they?” Art answers. “They’re on the job, aren’t they?”

Art has his night-vision binoculars trained on a cargo airstrip that juts sideways from the main runway. On the near side of the strip a number of cargo hangars and a few small shacks serve as offices for the airfreight companies. Now trucks are parked outside the hangars and the federales carry crates from the plane into the backs of the trucks.

He says to Ernie, “You getting this?”

“Say cheese,” Ernie answers. The electric motor of his camera whirs. Ernie grew up among the gangs inEl Paso, saw what dope did to his barrio and wanted to do something about it. So when Art offered him theGuadalajara job, he jumped at it. Now he asks, “And what do we think might be in the crates?”

“Oreo cookies?” Art suggests.

“Bunny slippers?”

“One thing we know it isn’t,” Art says. “It isn’t cocaine, because

…”

They both finish the line, “… there is no coke inMexico!”

They laugh at this shared joke, a ritual chant, a sarcastic rendering of the official line given to them by their bosses at the DEA. According to the suits in Washington, the planes full of coke that’ve been coming in more regularly and more often than United Airlines are a figment of Art Keller’s imagination.