The Walt Longmire Mystery Series Boxed Set Volumes 1-4 (63 page)

The tracks stopped in front of the Euskadi Hotel, and the snow was pushed back from the door like the broken wing of a fallen snow angel. I pulled the handle and saw him sitting there, filling his pipe from the beaded tobacco bag. The jukebox was crooning Frank’s “Ave Maria,” and he was at the table in the center of the room, looking very fragile and alone. “Get the hell outta here.”

I stood and looked at his silver belly hat that rested crown up on the white tablecloth; it was still in good shape and was probably the last one the old sheriff would buy. Dog didn’t move. We looked at each other and then back to him. “Dog is cold.”

He shifted his weight and turned away from the door as he zipped up the bag and laid it on the table along with the keys to the building. “The dog can come in, but you better damn well go.” He patted his leg, and Dog was there in an instant. The gnarled old hand gently smoothed the fur behind his ears. “You don’t care who you hang around with, do you?”

The door swung shut behind me as I walked over and sat at the other side of his table and adjusted the plastic flowers so that we would have an unobstructed view of each other. I unbuttoned my coat and waited for a good long time, breathing the warm air. I wanted to start asking questions again, but it was too close and raw. I sat the license plate on the seat beside me, looked at the keys on the table, and settled on another subject. “So, you’re the one who owns the Euskadi?”

It took awhile but, after lighting his pipe and taking a few puffs, he answered. “Hahhm.” After smoking for a while longer, he spoke. “Came up fer sale back in the sixties and bought it for a song. Brought Jerry Aranzadi in as the vocal partner and to run the place; only way to keep it on the up and up, and he doesn’t steal too much.” He took a deep breath. “Still the only place in town where you don’t get offered a blueberry beer.”

“Jerry’s Basque?”

“Yeah, he’s one of them high-altitude Mexicans.”

I smiled; it was a common phrase in these parts. “It’s always been a nice place.”

He looked down at the dog’s head, which he continued to pet. “They used to bring ’em through here, the Basquos. Kind of a halfway house for sheepherders.” He leaned forward and rested his elbows on the table. “They’d sponsor a Basquo to come over by contacting the Wyoming Range Association, put the herder’s name in, and pay five hundred bucks to cover the immigrant’s travel expenses. The Range would check the fellow out, and if he hadn’t pitched any bombs into any cafés they’d run ’im through a quota system. Usually it was a relative, somebody they could count on. They’d deduct the money out of their pay once they got here. Poor bastards only made about thirty a week; took a while.”

I waited a moment and glanced over at the bar back, which continued to insist on older and gentler times. “You met here on Thursdays?”

“After Charlie was dead.” It took a moment, but he smiled. “We never got remarried. The Basquos are pretty hung up in that religious stuff, but I think I got her to understand that she was missing something. I’m just not sure if I got her to understand that it was me.”

I waited a respectful moment before asking. “Lucian, what happened?”

He stared at his arm on the table, his fingers brushing the brim of his hat. “Do you think I killed Charlie Nurburn?”

I continued to look at him and thought about what the old outlaw was capable of, the stories I’d heard, the stories I knew. “Right now, yes, I do.” I sighed and thought about Dorothy’s advice. “Lucian, I don’t particularly want to get into a pissing contest. You had to know I was going to discover all of this, you trained me too well.” I thought about Mari Baroja, Isaac Bloomfield, about Lana and the pack of lawyers soon to be snapping at my heels. I placed my elbows on the table and rested my chin on my fists. “Do you know she has a granddaughter here in town?”

“Yes, I do.” His look continued to darken. “You’d be amazed at the things I know.”

“No, I wouldn’t, Lucian. I wouldn’t be amazed at all. I’ll tell you what I would be amazed by, you telling me what the hell happened fifty years ago.” I didn’t move, just leaned on my fists and stared at him. I took a deep breath and went easy. “For me to know what’s happening now, I need to know what happened then.”

He nodded almost imperceptibly as something old and brittle broke loose. I watched as it fell into the river of memory and slapped against the rocky cliffs of Lucian’s mind. “What good would it have done?” His eyes took on a long dead look. “What good would it have done for a woman like that to go to prison for the rest of her life?”

* * *

I listened as Lucian’s voice carried us back to a summer night in the middle of the last century. I can still play it back in my mind, like a home movie that is grainy and overexposed. The film slips with the clattering of spanners in the works as a thin man comes home late one cloudy night, a mason jar half full of clear liquid still dangling from his fingers as he fumbles with the knob on the door. The jar slips and busts on the uneven steps with a loud pop, shards of glass and homemade liquor falling through the cracks of the warped and cupped wood. Cursing, he continues to fumble with a latch that has been locked since early in the evening.

There are three children in a bed at the backside of the little house, illuminated by the flashes of lightning along the Big Horns; two are three-year-old girls, twins, with their arms wrapped around their bony knees. They are clutching a threadbare star quilt between them; its floral pattern fades like distance. There is a boy who is a little older. He sits at the foot of their bed, unmoving, but holding a large hammer as best he can in his shaking small hands.

There is a slam against the door as the man throws himself against it in an all too familiar rage. This is the pattern, the framework to which these children have accustomed themselves. They shudder in fear and try to remain silent. A promise made and a promise kept in an attempt to keep the bad from being so bad.

There is a woman standing against an old Republic steel sink, her palms pressed against the coolness of the counter’s lip. The cool feels good on her hands, calloused and raw from a short lifetime of hard struggle. Her long dark hair hides the face that is bowed to a god that no longer hears the trembling split lips pray for just a small salvation.

The slamming on the door continues. It is softer this time, and shortly thereafter there are soft words, words that she has responded to before but cannot anymore. He slams the door again, loud, and her head rises, revealing a dark and seeping bruise. The damage has been inflicted at her cheek but has drained to the jawline and is yellowing like something gone bad.

Words again, and then silence, an active silence that ends with the crash of a kitchen window and a piece of firewood that slides to a stop on the linoleum floor with the broken glass. She screams and rushes to the window, heedless of her bare feet and the triangular shards of heavy lead glass, in an attempt to push him away from her and from her children. His hands reach out for any part of her that he can grasp, finally tangling in her hair, and he yanks her head forward as he brings his other fist upward, propelling her backward in a lazy arch to the wood-burning stove at the other side of the small kitchen, where she lies, crumpled on the floor, still.

He scrambles in a drunken attempt to achieve purchase on the slick clapboard of the house, finally getting enough leverage to balance his weight on the sill, but slips on the edge, the glass slicing his hands as the house itself defends against his intrusion. He falls when he gets inside, rolls over onto his stiffened arm, and looks at his hand, at the glass splinters that continue to make him bleed. He attempts to pull them out but gives up in a thundering slam against the kitchen wall. He cries like a wounded beast before his attention is drawn to the opposite side of the room where a shapely calf and a well-formed foot stretch toward him in an unconscious but provocative manner.

Her father and uncles had said that she was a virgin, but they lied. Slut. She did it too well and enjoyed it too much. Bitch.

It is time for a lesson, time to teach her how to take what a man could give her. A flood of heat accompanies the anger and drunkenness giving it direction and focus. He pushes off with the good hand, tries to straighten his head, and considers the curves and softness barely concealed by the cotton dress. Even unaware, she begs for it.

She is small and easy to lift by the bodice of the dress. Her head slumps to one side, allowing the damage to her face to show. Ruined. So he turns her around and forces her over the sink. He thought of the stove, but the sink is higher and will afford a better angle for his purpose. He raises the dress over her hips and pulls at the cotton panties so that they slide down one leg and dangle from her foot, which is a good six inches from the floor.

There is blood on her undergarment; it is her time. He smells it, a different smell than that on his hands. He grabs the thick mane of her hair, pulling her head back and placing his face beside hers, telling her that he will not soil himself with her blood, that any hole is a hole. He fumbles, one-handed, with his belt and the thick buttons on his pants, shrugging the straps of his suspenders off his narrow shoulders and extracting himself for the work at hand.

She is partially awake now. The coolness of the porcelain has given her the slightest release, has allowed her the ability to center enough to bend her knees and kick. Her arms swing back and claw at him. Dishes fall from the counter, utensils crash to the floor with the melody of broken wind chimes, and the point of a large butcher’s knife sticks in the green linoleum. He slams her head forward again, still holding the fist full of hair. The only sound she makes now is an involuntary grunt as he drives himself into her, forcing the air from her, over and over again.

He has not seen the door at the end of the short hallway open and is not aware that the boy has crossed the room at a desperate but determined pace. The boy is troubled by the burden he carries and surveys the scene before him in a despondent and inevitable fashion, raising the weight as high as he can, not sure if the leverage of the thing will allow it to be brought down on the appointed spot. He does not understand exactly what is happening here, other than the same one is hurting the same one again, and it has to stop.

The three smallest toes on the man’s left foot are broken on impact. He slips and falls sideways, back toward the busted window, where he curses and howls like the animal he has become. The woman still lies facedown on the counter, her feet still dangling above the floor.

The boy moves forward again, raising the pointed edge of the shoeing hammer in an attempt to strike once more before retribution. It is too late. The man reaches forward and grabs him by the shirt and most of his undersized chest. The hand sledge falls from his small hands. The man feels a surge of pain from his foot and pulls himself up and onto his knees; he shakes the little body, draws it close, and slaps the boy backward with his open hand. His free one scrambles across the floor in search of the hammer and pounces on it like a five-legged spider. He smiles through his teeth as he raises the heavy metal head and takes aim on another man’s child.

There is a sudden tugging at his collar.

He feels strange, almost peaceful, as he looks down at the unconscious boy. He stares at the geometric pattern of the floor, having never noticed it before. The hammer drops to the side, forgotten, as he reaches up to his throat. It feels strange and wet, and he coughs as thick, dark liquid passes from his mouth onto the child. The weight of his head pulls it forward, and there is more blood flowing onto his shirt and arms and hands. He opens his mouth to scream, but the liquid blocks his voice and spills onto the floor with the force of an open spigot. It fills the room with its smell and slippery texture, and it is everywhere.

The man tries to raise his head, but the muscles refuse to work, and his face will not rise to follow the boy who is being pulled from him. He slips sideways and falls back against the cabinets below the sink. He lies there, blinking at the tableau before him, as the mother holds her eldest in her lap close to her, her legs tucked as she crouches against the stove like a panther.

He feels cold. He blinks again and remembers how one of the uncles had told him how they always allowed her to butcher the hogs in the autumn, how she had the blood touch. He looks into those baleful eyes, which are willing him to die. Slut. And she is the most beautiful thing he has ever seen. Bitch.

He takes forever to die, but she waits, unmoving, and watches him for the better part of an hour to make sure, finally kicking his leg to see if there is any reaction. She gathers the still unconscious child and feels his breathing on her neck, and this is when she cries, smearing the tears away with the back of her hand. She carries him to the bedroom where the twin daughters wait, eyes wide, as she gently places their brother between them. She tells them that she must go to the Aranzadi’s, eight miles distant. It will be late when she returns, but they must remain in the bed. They must not move, and they must not make noise, but most of all they cannot go into the kitchen. The smallest cries that she is thirsty but is silenced by her mother’s look.

She reins in the large bay and wheels him around the motorized carriage. The automobile is his, and she does not trust it. The bay is spooked by the lightning that pounds the black edges of the Big Horns. The wind is up, and it might rain; the buffalo grass sways like an undulating ocean of flax and seed. Tired as she is, she hopes for rain. She drives her naked heels into the horse’s flanks and gathers herself low behind his neck. There is only one two-track back to the main road and the nearest phone.

The rhythm of the horse’s hooves on the hard ground lulls her; she tries to stay on, gripping the hair of the horse’s withers. The first drops of rain hit like mercury dimes as she makes the rise overlooking the neighboring ranch house. There are no lights, but they will understand.

The hard flat drops of the high-altitude rain continue to strike at her as she urges the horse faster down the slippery track. Lightning flashes again, and the horse sidesteps in the yard, his stocking feet glowing like spats. She has started off, but the horse has taken her by surprise, and she tumbles forward. He backs away, dragging her as he goes. She holds to the single rein as the horse shakes his head up and down in an attempt to be free. He stops when she speaks to him in the language her husband had never tried to know.
“Ialgi hadi kampora . . .”