Back The Sentry Save as PDF
Chapters (62)
  1. Title Page
  2. Copyright Page
  3. Dedication
  4. Acknowledgements
  5. Part One - THE FISHMONGER
  6. Chapter 1
  7. Chapter 2
  8. Chapter 3
  9. Chapter 4
  10. Chapter 5
  11. Chapter 6
  12. Chapter 7
  13. Chapter 8
  14. Chapter 9
  15. Par Two - PRINCESS OF THE ANGELS
  16. Chapter 10
  17. Chapter 11
  18. Chapter 12
  19. Chapter 13
  20. Chapter 14
  21. Chapter 15
  22. Chapter 16
  23. Chapter 17
  24. Chapter 18
  25. Chapter 19
  26. Chapter 20
  27. Part Three - THE LORD OF WAR AND THUNDER
  28. Chapter 21
  29. Chapter 22
  30. Chapter 23
  31. Chapter 24
  32. Chapter 25
  33. Chapter 26
  34. Chapter 27
  35. Chapter 28
  36. Part Four - THE PRINCE OF SOLITUDE
  37. Chapter 29
  38. Chapter 30
  39. Chapter 31
  40. Chapter 32
  41. Chapter 33
  42. Chapter 34
  43. Chapter 35
  44. Par Five - THE SENTRY
  45. Chapter 36
  46. Chapter 37
  47. Chapter 38
  48. Chapter 39
  49. Chapter 40
  50. Chapter 41
  51. Chapter 42
  52. Chapter 43
  53. Chapter 44
  54. Chapter 45
  55. Chapter 46
  56. Chapter 47
  57. Chapter 48
  58. Chapter 49
  59. Chapter 50
  60. Chapter 51
  61. Chapter 52
  62. Chapter 53

As the men crowded around Mendoza, Pike studied their faces. Most sported elaborate gang tats and shaved heads, which had replaced slicked-back hair as the homeboy style of choice. Pike knew that not all of these men would be in the gang. Most were, but a couple would likely be wannabes, and a couple more were probably just friends. Three of the men showed the grease and soil of work, but most of them had just been hanging around. Pike saw the man who had aimed his gun hand from the Monte Carlo’s back seat, but Gomer wasn’t among them. The man hugged Mendoza and lifted him from the ground. When other men made a joke of grabbing Mendoza’s cast, the back-seat man playfully pushed them away. Protecting his friend. Any of these people could have vandalized Wilson’s takeout shop, but Pike had no way to know, though he thought he knew someone who could help deal with the problem.

Pike scrolled the directory in his cell phone until he found the number, then dialed. A cheery young woman answered.

“Angel Eyes. May I help you?”

“Artie there?”

“Yes, he is. May I ask who’s calling?”

“Tell him Joe Pike is coming by.”

Pike drove to a small stucco house in a residential neighborhood east of Abbot Kinney Boulevard. Known by the people who lived there as Ghost Town, the streets were lined by modest homes originally built for African-American laborers during the thirties. Ghost Town had seen a slow gentrification in some of its neighborhoods, but not all, leaving a sad reminder of days gone past and dreams unrealized. But men like Father Arturo Alvarez were trying to change that.

Father Art was not a priest, though the women and kids in his care called him Father and blessed him with the love and respect of a man of God. Artie Alvarez was a murderer. He murdered his first and only victim when he was eleven years old—a thirteen-year-old Shoreline Crip named Lucious T. Jefferson, whose only mistake was pedaling a blue Schwinn bike past Artie’s house. Artie was brutally honest when he told the story of how and why he killed the boy, which he told often to elementary-school children, civic leaders, and business groups throughout the Southland. He spoke to kids because he hoped to change their lives for the better. He spoke to civic leaders and business groups to raise money to fund his programs.