Back Blackbirds Save as PDF
Contents ( 64)
  1. PART ONE
  2. ONE
  3. TWO
  4. INTERLUDE
  5. THREE
  6. FOUR
  7. INTERLUDE
  8. FIVE
  9. SIX
  10. SEVEN
  11. INTERLUDE
  12. EIGHT
  13. NINE
  14. TEN
  15. ELEVEN
  16. INTERLUDE
  17. TWELVE
  18. PART TWO
  19. THIRTEEN
  20. FOURTEEN
  21. INTERLUDE
  22. FIFTEEN
  23. SIXTEEN
  24. SEVENTEEN
  25. EIGHTEEN
  26. NINETEEN
  27. INTERLUDE
  28. TWENTY
  29. INTERLUDE
  30. TWENTY-ONE
  31. INTERLUDE
  32. TWENTY-TWO
  33. INTERLUDE
  34. TWENTY-THREE
  35. PART THREE
  36. TWENTY-FOUR
  37. INTERLUDE
  38. TWENTY-FIVE
  39. TWENTY-SIX
  40. INTERLUDE
  41. TWENTY-SEVEN
  42. TWENTY-EIGHT
  43. INTERLUDE
  44. TWENTY-NINE
  45. THIRTY
  46. INTERLUDE
  47. THIRTY-ONE
  48. INTERLUDE
  49. THIRTY-TWO
  50. INTERLUDE
  51. THIRTY-THREE
  52. INTERLUDE
  53. THIRTY-FOUR
  54. THIRTY-FIVE
  55. THIRTY-SIX
  56. THIRTY-SEVEN
  57. THIRTY-EIGHT
  58. THIRTY-NINE
  59. FORTY
  60. INTERLUDE
  61. FORTY-ONE
  62. About the Author
  63. Acknowledgments
  64. CHUCK WENDIG in conversation with Adam Christopher

What are her options here? Kick the tall fucker in the crotch? Slit the stubby bitch's throat with the Chick tract, hoping for a wicked paper cut?

She sees the woman's gaze flick to the left; then she hears feet on sidewalk. Heavy feet.

Louis's feet.

"Everything all right?" he asks, walking up.

The two agents size him up.

"We're looking for someone," the woman says, and holds out a photo.

Miriam's throat tightens. She's glad as hell they're not looking for her – but there Ashley is in the photo. Some party. Red Christmas lights. Laughing. That smug eyebrow. That mouth curled forever in a dickish grin. It's him.

Louis sees it. Miriam waits for him to give up the ghost. If they find Ashley, he'll roll over on her. Which means they'll find her. She can't have that.

"You know this guy?" the Italian asks.

The woman says, "His name is Ashley Gaynes."

"That's a dude, not a chick," Miriam says, verbally feinting left.

"He's a male, yes," the woman says, frowning.

"But his name's Ashley."

They stare at her like they want her dead.

She holds up her hands. "Oh. I just figured – never mind."

"Have you seen him? Or not?"

"Ummm. Nope. I see a lot of dudes. I haven't seen this dude."

The woman thrusts the photo upward, so that it's unavoidably in Louis's line of sight.

"And you, sir? Have you seen this man?"

Louis seems irritated. He tightens. "I'm sorry, who are you people again?"

Miriam leans in, and says in a Southern affectation to match his real one: "Baby, they said they're the FBI."

"Can I see some ID?"

The Italian rolls his eyes. The woman says nothing and shows hers. The man, exasperated, follows suit.

"No," Louis says. "I haven't seen him. Sorry, y'all."

The Italian steps in, cocks his chin, pops his knuckles. "You take one more look at that photo, and you think real hard about it–"

"Frankie," the woman says, putting her little mitt on his chest. "We can stop bothering these people. They don't know anything. Thank you for your time, folks."

The two of them turn and head back toward a black Cutlass Ciera parked a few spots down from the motel office. They seem an odd couple, Miriam thinks. Like a pair of pooches: a little bulldog tottering next to a bony Great Dane.

"They're looking for your brother," Louis says. He doesn't sound happy.

"My brother. Yeah. Thank you. Y'know, for not selling him out."

"I don't feel comfortable lying to the law," he says as they watch the black Oldsmobile exit the lot. It drives off down the avenue, an inky shadow lost to the darkness.

"That's because you have a handful of redeeming traits like honor and integrity and honesty and other positive qualities that are generally foreign to me. It means a lot to me. Really."

He takes a deep breath. "So what happened back there?"

"These two FBI agents–"