Greg Iles - The Devils Punchbowl

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With his gift for crafting “a keep-you engaged- to-the-very-last-page thriller” (
) at full throttle, Greg Iles brings back the unforgettable Penn Cage in this electrifying suspense masterpiece.
A new day has dawned . . . but the darkest evils live forever in the murky depths of a Southern town. Penn Cage was elected mayor of Natchez, Mississippi—the hometown he returned to after the death of his wife—on a tide of support for change. Two years into his term, casino gambling has proved a sure bet for bringing new jobs and fresh money to this fading jewel of the Old South. But deep inside the 
, a fantastical repurposed steamboat, a depraved hidden world draws high-stakes players with money to burn on their unquenchable taste for blood sport and the dark vices that go with it. When an old high school friend hands him blood-chilling evidence, Penn alone must beat the odds tracking a sophisticated killer who counters his every move, placing those nearest to him—including his young daughter, his renowned physician father, and a lover from the past—in grave danger, and all at the risk of jeopardizing forever the town he loves.
From Publishers Weekly
Iles's third addition to the Penn Cage saga is an effective thriller that would have been even more satisfying at half its length. There is a lot of story to cover, with Cage now mayor of Natchez, Miss., battling to save his hometown, his family and his true love from the evil clutches of a pair of homicidal casino operators who are being protected by a homeland security bigwig. Dick Hill handles the large cast of characters effortlessly, adopting Southern accents that range from aristocratic (Cage and his elderly father) to redneck (assorted Natchez townsfolk). He provides the bad guys with their vocal flair, including an icy arrogance for the homeland security honcho, a soft Asian-tempered English for the daughter of an international villain and the rough Irish brogue of the two main antagonists. One of the latter pretends to be an upper-class Englishman and, in a moment of revelation, Hill does a smashing job of switching accents mid-sentence. 

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“You don'’t know that Po is either. You’re ignoring the question of face. If Po is a criminal, can he afford to let other criminals know that his lieutenants can be killed without reprisals?”

“I considered face,” Kelly says patiently. “Also

guanxi.

I think killing Sands is actually the most elegant solution to our problem—and not just for us. If Sands is killed, I suspect Po will claim credit for the murder—unofficially, of course. Competitors will assume that Po had Sands murdered for interfering with his niece, Jiao, whom Po vowed to protect from people like Sands.”

Everyone is silent, not least because Kelly seems two steps ahead of us all.

“We either kill him or we back off,” Kelly concludes. “Conventional methods are too slow. They’re just going to get someone we care about killed.”

“Carl?” Caitlin says pointedly. “Would

you

kill Sands?”

The sniper gives her a “Why me?” look, like a grade-school student being called on by his teacher. “Kelly’s a free agent,” he mumbles. “The man makes his own decisions.”

“I'm asking about

you.

”

“Depends on the situation. If somebody was going to die because I didn't, I would, yeah.”

“But would you shoot him sitting at his breakfast table?”

Carl turns up his palms. “I don'’t think so, but it’s complicated. I

have

shot somebody who was eating dinner, because the Marine Corps told me he needed to die. Now, I don'’t know Jonathan Sands from Jonathan Livingston Seagull. But if I knew he was going to kill my sister or my mother…then I’d vaporize him.”

Caitlin turns to me, as though I'm the court of last resort. “You’re an attorney, sworn to uphold the law. You’ve sent people to death row for doing exactly what Kelly’s offering to do now. Are you really going to send him out of this house to commit murder?”

The fact that I think Kelly is right surprises even me. I’'ve been in similar situations before, with the power of life and death over someone almost as evil as Sands, and I chose to use the court system, even with the chance that they might escape punishment. But Sands is a special case. I wish Caitlin and I could have this discussion in private, because she tends to get more stirred up when she’s in front of people. But there’s no alternative now.

“I have sent people to death row,” I concede in a level voice. “But not for doing something like this. This is a unique situation. Tim stumbled into something far bigger and more complicated than he knew. Blackhawk’s position and Peter Lutjens’s warning prove that. We still don'’t really know what we’re dealing with. We only know that the government is involved in some way, and that Sands and Quinn are prepared to kill to prevent anyone from learning what they'’re doing. I also know that wherever they are, my mother and Annie are scared to death. They’re holding their chins up, but they'’re terrified that they’ll get a phone call saying that Dad or me is dead. And I believe that’s a real possibility.”

“That sounded like a summation, not an answer,” Caitlin says, her tone still challenging.

“Caitlin…this is like a stalking case. When I was a prosecutor, I saw a lot of women die needlessly because the police had no effec

tive way to intervene until after they were dead. A lot of the men who killed those women went to prison afterward. But the women were still dead.”

This time I get no ricochet response.

“In this case, there are four women who could die,” I go on, “all of whom I love. And one of them is you.”

“Don’t do that,” she says with startling intensity. “Don’t use me to justify killing someone.”

“Maybe we should take a vote,” Kelly suggests.

“No!” snaps Caitlin. “We’re not taking any goddamn vote. No one here has the right to vote on murder. If you kill Sands, you'’ve done it on your own.”

“What would you do if he went through with it?” I ask. “Would you report Kelly to the police?”

She gets to her feet and turns to my father. “Tom, you’re not seriously condoning this?”

Dad looks up at her with sad eyes. “I understand your feelings, Kate. I believe in the rule of law. And Sands hasn’'t killed a member of my family—yet. But that’s only thanks to chance. My daughter could easily have died two hours ago.”

“But she

didn't,

Tom. She’s going to be all right. We have time to take another path.”

“What path would that be?”

“We could go public. I can have this story on the front page of twenty-three papers tomorrow, and a lot more than that, if I bring my father into this. I’d hate to do that, but if we’re to the point of assassinating someone, then I think it’s time to break the story nationwide.”

“If we go public,” I point out, “Edward Po won'’t set foot on U.S. soil for ten years, at least. Whatever he’s doing here, he won'’t be nailed for it.”

Caitlin looks at me like I'm an idiot. “What do you think Po is going to do if you murder Sands? You lose Po that way too.”

“What exactly would you print?” I ask. “Unsubstantiated allegations?”

Kelly leans forward and says, “I know going public seems like a magic solution, throwing light onto people who live in the shadows. But men like Po don'’t see the world the way you do. They’re not

politicians. While you’re stirring up your media storm, they will be

acting.

To them, this is war. And if they take you out, or Annie or Peggy or Penn, none of us is going to feel comforted by the fact that you splashed Sands’s and Po’s names in the paper. Because that won'’t bring back the dead.”

Dad seems to be weighing all the arguments in his mind. “You saw those two old black men outside?” he says to Caitlin. “The ones watching over us?”

She nods.

“Before they were cops, before there even

were

black cops in Natchez, they were members of something called the Deacons for Defense.”

“What’s that?”

“A group of men who got fed up with their friends and neighbors being terrorized, beaten, and killed. They patrolled their neighborhoods with pistols, lay out all night in ditches with shotguns, all to keep their people safe. They did that because they couldn'’t turn to the police. The law had failed to protect them, so they did it themselves.”

“Has the law failed to protect us?” Caitlin asks, looking around our circle. “We haven'’t even

asked

for help yet.”

“Kate,” my father says gently. “Let me tell you a story a patient of mine once told me. Back in the sixties and seventies, they had gambling and prostitution not far from where we are now. A place called Morville Plantation. Very close to where Penn and Kelly got attacked. Some of the girls who worked at Morville were held there against their will. God only knows where they’d been taken from, or what hell they’d been through. But one day, one girl got away from there. Half naked, she walked all the way to the sheriff’s department. She was crying with relief while she told her story. The sheriff listened, then put her in his car and drove her right back to the whorehouse.”

Caitlin stares at my father in silence.

“Kate, you’re sitting in a parish that didn't have jury trials for almost ten years—from 1956 to 1966.”

“We’re not living in that time anymore,” Caitlin says quietly.

“That'’s true. But how far are we from the story of that poor girl? If we believe Tim Jessup, the same thing is going on today.”

Dad’s mention of Tim seems to move Caitlin to silence.

“This is what I know,” I conclude. “Peter Lutjens warned me to stay away from Sands, said he could give me no information whatever. Peter would only do that if Sands was involved with the government in some way. Sands is either a target, an agent, or an informant. I'm almost afraid to find out which. But the fact is, he’s been committing felonies since he arrived here, up to and including murder. Yet he’s still roaming free.”

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