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The Steel Kiss Excerpt

 

The enemy is within the gates; it is with our own luxury, our own folly, our own criminality that we must contend.

                                                                                    –Cicero

Sometimes you catch a break.

Amelia Sachs had been driving her arterial-blood-red Ford Torino along a commercial stretch of Brooklyn’s Henry Street, more or less minding pedestrians and traffic, when she spotted the suspect.

What’re the odds?

She was helped by the fact that Unsub 40 was unusual in appearance. Tall and quite thin, he stood out in the crowd a short time ago. Still, that alone would hardly get you noticed in the throng here. But on the night he’d beaten his victim to death, two weeks before, a witness reported that he’d been wearing a pale green checked sport coat and Braves baseball cap. Sachs had done the requisite—if hopeless—posting of this info on the wire and moved on to other aspects of the investigation . . . and onto other investigations; Major Cases detectives have plenty to look after.

But an hour ago a portable from the 84th Precinct, walking a beat near the Brooklyn Heights Promenade, had spotted a possible and called Sachs—the lead gold shield on the case. The murder had been late at night, in a deserted construction site, and the perp apparently hadn’t known he’d been witnessed in the outfit, so he must’ve felt safe donning the garb again. The patrol officer had lost him in the crowds but she’d sped in the direction anyway, calling in backup, even if this part of the city was an urban sprawl populated by ten thousand camouflaging souls. The odds that she’d find Mr. Forty were, she told herself wryly, nonexistent at best.

But, damn, there he was, walking in a long lope. Tall, skinny, green jacket, cap and all, though from behind she couldn’t tell what team was being championed on the headgear.

She skidded the ‘60s muscle car to a stop in a bus zone, tossed the NYPD official business placard on the dash and eased out of the car, minding the suicidal bicyclist who came within inches of contact. He glanced back, not in recrimination, but, she supposed, to get a better look at the tall, redheaded former fashion model, focus in her eyes and a weapon on her black-jeaned hip.

Onto the sidewalk, following a killer.

This was her first look at the prey. The gangly man moved in lengthy strides, feet long but narrow (in running shoes, she noted; good for sprinting over the damp April concrete—much better than her leather-soled boots). Part of her wished he was more wary—so he would look around and she could get a glimpse of his face. That was still an unknown. But, no, he just plodded along in that weird gait, his long arms at his side, backpack slung via one strap over his sloping shoulder.

She wondered if the murder weapon was inside: the ballpeen hammer, with its rounded end, meant for smoothing edges of metal and tapping rivets flat. That was the side he’d used for the murder, not the claw on the opposite end. The conclusion as to what had caved in Todd Williams’s skull came from a database that Lincoln Rhyme had created for the NYPD and Medical Examiner’s Office, the specific folder title: Weapon Impact on Human Bodies. Section Three: Blunt Force Trauma.

It was Rhyme’s own database but Sachs had been forced to do the analysis herself. Without Rhyme.

A thud in her gut at this thought. Forced herself to move past it.

Picturing the wounds again. Horrific, what the thirty-five-year-old Manhattanite had suffered, beaten to death and robbed as he approached an after-hours club named, so very meta, 40º North, a reference, Sachs had learned, to the latitude of the East Village, where it was located.

Now, Unsub Forty—the club was the source of the nic—was crossing the street, with the light. What an odd build. Well over six feet yet he couldn’t’ve weighed more than one forty or fifty.

Sachs saw his destination and alerted dispatch to tell her backup that the suspect now was entering a five-story shopping center on Henry. She plunged in after him.

With his shadow behind at a discreet distance Mr. Forty moved through the crowds of shoppers. People were always in a state of dynamics in this city, droves of people, all ages, sexes, colors, sizes. New York kept its own clock and, though it was after lunch hour, businesspeople who should be in the office and students who should be in school were here, spending money, eating, milling, browsing, texting and talking.

And complicating Amelia Sachs’s takedown plans considerably.

Forty headed up to the second floor. He continued walking purposefully through the brightly lit mall, which could have been in Paramus, Austin or Portland, it was that generic. The smells were of cooking oil and onions from the food court and perfume from the counters near the open entranceways of the anchor stores. She wondered for a moment what Forty was doing here, what did he want to buy?

Maybe purchasing wasn’t his plan at the moment; he walked into a Starbucks.

Sachs eased behind a pillar near the escalator, about twenty feet from the open entryway to the coffee franchise. Careful to remain out of sight. She needed to make sure he didn’t suspect there were eyes on him. He wasn’t presenting as if carrying—there’s a way people tend to walk when they have a gun in their pocket, as any street cop knows, a wariness, a stiffer gait—but that hardly meant he was pistol free. And if he tipped to her and started shooting? Carnage.

Glancing inside the shop quickly, she saw him reach down to the food section and pick up two sandwiches, then apparently order a drink. Or, possibly, two. He paid and stepped out of sight, waiting for his cappuccino or mocha. Something fancy. A filtered coffee would have been handed over right away.

Would he eat in or leave? Two sandwiches. Waiting for someone? Or one for now and one for later?

Sachs debated. Where was the best place to take him? Would it be better outside on the street or in the shop or the mall itself? Yes, the center and the Starbucks were crowded. But the street more so. No arrest solution was great.

A few minutes later he was still inside. His drink must have been ready by now and he’d made no effort to leave. He was having a late lunch, she supposed. But was he in fact meeting someone?

Making a complicated takedown even more so.

She got a call.

“Amelia, Lonnie Everett.”

“Hey,” she said softly to the patrolman out of the 84. They knew each other well.

“We’re outside. Me and Dodd. Another car with three.”

“He’s in Starbucks, second floor.”

It was then that she saw a delivery man wheel by with some cartons containing the Starbucks logo, the mermaid. Which meant there was no back entrance to the shop. Forty was trapped in a cul-de-sac. Yes, there were people inside, potential bystanders, but fewer than in the mall or on the street.

She said to Everett, “I want to take him here.”

“Inside, Amelia? Sure.” A pause. “That’s best?”

He’s not getting away, Sachs thought. “Yes. Get up here stat.”

“We’re moving.”

A fast glance inside then back to cover. She still couldn’t see him. He must be sitting in the back of the place. She eased to the right and then moved closer to the open archway of the coffee shop. If she couldn’t see him, he couldn’t see her.

She and the team would flank—

Just then Sachs gasped at the abrupt, piercing scream close behind her. A horrid wail of a person in pain. So raw, so high, she couldn’t tell male or female.

The sound came from the top of the up escalator, connecting the floor below with this one.

Oh, Jesus. . . .

The top panel of the device, the one that riders stepped off the moving stairs onto, had popped open and a passenger had fallen into the interior of the machine.

“Help me! No! Please please please!” A man’s voice. Then the words coalesced into a scream once more.

Customers and employees gasped and cried out. Those on the steps of the malfunctioning unit, which were still moving up, leapt off or charged back down against the upward motion. The riders on the adjoining escalator, going down, jumped too, maybe thinking it was about to engulf them as well. Several landed in a heap on the floor.

Sachs glanced toward the coffee shop.

No sign of Forty. Had he seen her badge, on her belt, or weapon when he, like everyone else, turned to stare at the accident?

She called Everett and told him about the accident and to call it in to dispatch. Then to cover the exits; Unsub 40 might’ve seen her and was escaping. She sprinted to the escalator, noting somebody had pressed the emergency button. The stairs slowed and then halted.

“Make it stop, make it stop!” More screams from the person trapped inside.

Sachs stepped into the upper part of the platform and looked into the gaping hole. A middle-aged man was trapped in the gears of the motor, mounted to the floor about eight feet below the aluminum panel that had popped open. The motor continued to turn, despite shutting off the emergency switch; she supposed that the button merely disengaged a clutch to the moving stairs. The poor man was caught at the waist. He was on his side, flailing at the mechanism. The gears had dug deep into his body; blood had soaked his clothing and was flowing onto the floor of the escalator pit. He was about forty-five or fifty and wore a white shirt with a name badge on it, an employee of one of the stores probably.

Sachs, looking at the crowd. There were employees here, a few security people, but no one was doing anything to help. Stricken faces. Some were calling 911, it seemed, but most were taking cellphone pix and video.

She called down to him, “We’ve got rescue on the way. I’m NYPD. I’m coming down there.”

“God, it hurts!” More screaming. She felt the vibration in her chest.

That bleeding had to stop, she assessed. And you’re the only one going to do it. Just go.

She muscled open farther the hinged panel. Amelia Sachs wore little jewelry. But she slipped her one accessory—a ring with a blue stone—from her finger, afraid it would catch her hand in the gears. Though his body was jamming one set of them, a second—operating the down escalator—churned away. Ignoring her claustrophobia, but barely, Sachs started into the narrow pit. There was a ladder for workers to use—but it consisted of narrow metal bars, which were slick with the man’s blood; apparently he’d been slashed when he first tumbled inside by the sharp edge of the access panel. She gripped the hand and foot holds of the ladder hard; if she’d fallen it would have been right on top of the man and, nearby, the second set of grinding gears. Once, her feet went out from under her and her arm muscles cramped to keep her from falling. A booted foot brushed the working gears, which dug a trough in her boot and tugged at her jeans cuff. She yanked her leg away.

Then down to the floor. . . Hold on, hold on. Saying, or thinking, this to both him and herself.

The poor man’s screams weren’t diminishing.

“Please, oh God, oh God . . .”

She jockeyed carefully around the second set of gears, slipping twice on the blood. Once his leg lashed out involuntarily, caught her solidly on the hip and she fell forward toward the revolving teeth.

She managed to catch herself just before her face brushed the metal. Slipped again. Caught herself. “I’m a police officer,” she repeated. “Medics’ll be here any minute.”

“It’s bad, it’s bad. It hurts so much. Oh, so much.”

Lifting her head, she shouted, “Somebody from maintenance, somebody from management! Shut this damn thing off! Not the stairs, the motor! Cut the power!”

Where the hell’s the fire department? Sachs surveyed the injury. She had no idea what to do. She pulled her jacket off and pressed it against the shredded flesh of his belly and groin. It did little to stanch the blood.

“Ah, ah, ah,” he whimpered.

Looking for switches to turn, wires to cut—she carried her very sharp and very illegal switchblade knife in her back pocket—but there were no cables visible to slice. How can you make a machine like this and not have an off switch? Jesus. Furious at the incompetence.

“My wife,” the man whispered.

“Shhh,” Sachs soothed. “It’ll be all right.” Though she knew it wouldn’t be all right. His body was a bloody mass. Even if he survived, he’d never be the same.

“My wife. She’s . . . Will you go see her? My son. Tell them I love them.”

“You’re going to tell ‘em that yourself, Greg.” Reading the name badge.

“You’re a cop.” Gasping.

“That’s right. And there’ll be medics here—”

“Give me your gun.”

“Give you—”

More screaming. Tears down his face.

“Please, give me your gun! How do I shoot it? Tell me!”

“I can’t do that, Greg,” she whispered. She put her hand on his arm. With her other palm she wiped sweat.

“It hurts so much. . . I can’t take it.” A scream louder than the others. “I want it to be over with!”

She had never seen such a hopeless look in anyone’s eyes.

“Please, for Christ Sake, your gun!”

Amelia Sachs reached down and drew her Glock from her belt.

 

                                                            # # #

A cop.

Not good. Not good.

That tall redhead. Black jeans. Pretty face. And, oh, the red hair . . .

A cop.

I’ve left her behind at the escalator and am moving through the crowds at the mall.

She didn’t know I’d seen her, I think, but I had. The scream of the man disappearing into the jaws of that machine had prodded everybody to look toward the sound. Not her, though. She was turning to look for me in the friendly Starbucks.

I saw the gun on her hip, the badge on her hip. Not private, not rental. A real cop. A Blue Bloods cop. She—

Well. What was that?

A gunshot. I’m not much on firearms but I’ve shot a pistol some. No doubt that was a handgun.

Puzzling. Yeah, yeah, was the police girl—Red I’m calling her, after the hair—planning to arrest somebody else? Hard to say. She could be after me for lots of the mischief I’ve been up to. Possibly the bodies I left in that sludgy pond near Newark some time ago, weighted down with barbells like the sort pudgy people buy, use six and a half times and never again. No word in the press about that incident but, well, it was New Jersey. Body-land, that place is. Another corpse? Not worth reporting; the Mets won by seven! So. Or she might be hunting for me for the run-in not long after that on a dim street in Manhattan, swish goes the throat. Or maybe that construction site behind club Forty Degrees, where I’d left such a pretty package of, once again, snapped head bone.

Did somebody recognize me at one of those places, cutting or cracking?

Could be. I’m, well, distinctive looking, height and weight.

I just assume it’s me she wants. I need to get away and that means keeping my head down, that means slouching. It’s easier to shrink three inches than grow.

But the shot? What was that about? Was she after someone even more dangerous than me? I’ll check the news later.

People are everywhere now, moving fast. Most are not looking at tall me, skinny me, me of the long feet and fingers. They just want out, fleeing the screams and gunshot. Stores are emptying, food court emptying. Afraid of terrorists, afraid of crazy men dressed in camo, stabbing, slashing, shooting up the world in anger or loose-wired brains. ISIS. Al-Qaeda. Militias. Everyone’s on edge.

I’m turning here, slipping through socks and underwear, men’s.

Henry Street, Exit Four, is right ahead of me. Should I get out that way?

Better pause. I take in a deep breath. Let’s not go too fast here. First, I should lose the green jacket and cap. Buy something new. I duck into a cheap store to pay cash for some China-made Italian blue blazer. Thirty five long, which is lucky. That size is hard to find. Hipster fedora hat. A Middle Eastern kid rings the sale up while texting. Rude. My desire is to crack a bone in his head. At least he’s not looking at me. That’s good. Put the old jacket in backpack, the green plaid one. The jacket is from my brother, so I’m not throwing it out. The sports cap goes inside too.

The Chinese Italian hipster goes back into mall. So, which way to escape? Henry Street?

No. Not smart. There’d be plenty of cops outside.

I’m looking around. Everywhere, everywhere. Ah, a service door. There’d be a loading dock, I’m sure.

I push through it the doorway like I belong here, knuckles not palm (prints, of course), past a sign saying Employees Only. Except not now.

Thinking: What lucky timing, the escalator, Red next to it when the screams began. Lucky me.

Head down, I keep walking steadily. Nobody stops me in the corridor.

Ah, here’s a cotton jacket on a peg. I unpin the employee name badge and repin on my chest. I’m now Courteous Team Member Mario. I don’t look much like a Mario but it’ll have to do.

Just now two workers, young men, one brown, one white, come through a door ahead of me. I nod at them. They nod back.

Hope one isn’t Mario. Or his best friend. If so, I’ll have to reach into backpack and crack bones from on high. I pass them.

Good.

Or not good: A voice shoots my way: “Yo?”

“Yeah?” I ask, hand near the hammer.

“What’s going on out there?”

“Robbery, I think. That jewelry store. Maybe.”

“Fuckers never had security there. I coulda told ‘em.”

His co-worker: “Only had cheap crap. Zircons, shit like that. Who’d get his ass shot for a zircon?”

I see a sign for Deliveries and dutifully follow the arrow.

I hear voices ahead, stop and look around corner. One little black guard, skinny as me, a twig, is all. I could break him easily with the hammer. Make his face crack into ten pieces. And then—

Oh, no. Why is life such a chore?

Two others show up. One white, one black. Both twice my weight.

I duck back. And then things get worse. Behind me, other end of corridor I’ve just come down. I hear more voices. Maybe it’s Red and some others, making a sweep this way.

And the only exit, ahead of me, has four rental cops, who live for the day they too have a chance to break bones . . . or Taze or spray.

Me, in the middle and nowhere to go.

 

 

Solitude Creek Reviews

“Numerous surprises are in store for Kathryn Dance (and the reader) in bestseller Deaver’s stellar fourth novel featuring the California Bureau of Investigation kinesics expert. …Deaver’s meaty thrillers are as good as they come.”
– Publishers Weekly * starred review

“Deaver once again satisfies with this exciting entry. His fans won’t be disappointed, and readers looking for a new thriller series will enjoy making Kathryn’s acquaintance.”
– Library Journal

“While Dance may not be able to compete with a flamboyant show-off like March, she’s excellent as the calm but constantly moving right hand that Deaver uses to distract us from what his busy left hand is doing. …[Dance] needs all her wits about her right now if she hopes to foil one of Deaver’s most diabolical villains.”
New York Times

Solitude Creek displays a key element in Deaver’s work: ironclad plotting.”
– The Independent (UK)

“What do we truly fear, and how would we react in a crisis? Would we fall apart and claw our way to safety? Or would we help someone else? Deaver forces the reader to tackle these questions, then adds his own brand of twists to play with expectations, delivering another outstanding and unpredictable thriller.”
– Associated Press

“The question at the heart of the novel is ‘Why?’ Who or what would hire someone to deliberately induce panic — in the hope that the resulting melee would end in the loss of innocent life? The answer is startling, and moves SOLITUDE CREEK beyond the usual exemplary entertainment that Deaver regularly provides to give his readership a chilling cautionary tale. … Deaver once again meets and exceeds his own high water mark for surprises with SOLITUDE CREEK. Antioch March is a chilling and unforgettable antagonist.”
BookReporter.com

“Deaver is still going strong and his latest novel, Solitude Creek, exhibits his usual panache for fast action and diabolical twists.”
– Sydney Morning Herald

“The cat and mouse elements of this story are Deaver at his best. He seizes control of the readers’ attention and manipulates it to induce fear and trepidation as the story continues.”
– Huffington Post

Solitude Creek Excerpt

I
Frenzy

Chapter One

The roadhouse was comfortable, friendly, inexpensive. All good.

Safe, too. Better.

You always thought about that when you took your teenage daughter out for a night of music.

Michelle Cooper did, in any event. Safe when it came to the band and their music, the customers, the waitstaff.

The club itself, too, the parking lot—well lit—and the fire doors and sprinklers.

Michelle always checked these. The teenage daughter part, again.

Solitude Creek attracted a varied clientele, young and old, male and female, white and Latino and Asian, a few African-Americans, a mirror of the Monterey Bay area. Now, just after seven thirty, she looked around, noting the hundreds of patrons who’d come from this and surrounding counties, all in buoyant moods, looking forward to seeing a band on the rise. If they brought with them any cares, those troubles were tucked tightly away at the prospect of beer, whimsical cocktails, chicken wings and music.

The group had flown in from L.A., a garage band turned backup turned roadhouse headliner, thanks to Twitter and YouTube and Vidster. Word of mouth, and talent, sold groups nowadays, and the six boys in Lizard Annie worked as hard on their phones as onstage. They weren’t O.A.R. or Linkin Park but were soon to be, with a bit of luck.

They certainly had Michelle and Trish’s support. In fact, the cute boy band had a pretty solid mom/daughter fan base, judging by a look around the room tonight. Other parents and their teenagers too; the lyrics were rated PG, at the raunchiest. For this evening’s show the ages of those in the audience ranged from sixteen to forty, give or take. Okay, Michelle admitted, maybe mid-forties.

She noted the Samsung in her daughter’s grip and said, “Text later. Not now.”

“Mom.”

“Who is it?”

“Cho.”

A nice girl from Trish’s music class.

“Two minutes.”

The club was filling up. Solitude Creek was a forty-year-old, single-story building featuring a small, rectangular dance floor of scuffed oak, ringed with high-top tables and stools. The stage, three feet high, was at the north end; the bar was opposite. A kitchen, east, served full menus, which eliminated the age barrier of attendance: only liquor-serving venues that offered food were permitted to seat children. Three fire exit doors were against the west wall.

On the dark wood walls were posters and during-the-show photos, complete with real and fake autographs, of many of the groups that had appeared at the legendary Monterey Pop Festival in June of 1967: Jefferson Airplane, Jimi Hendrix, Janis Joplin, Ravi Shankar, Al Kooper, Country Joe. Dozens of others. In a grimy Plexiglas case was a fragment of an electric guitar, reportedly one destroyed by Pete Townshend of The Who after the group’s performance at the event.

The tables at Solitude Creek were first come, first claimed, and all were filled—the show was only fifteen minutes away now—and presently servers circulated with last-minute orders, plates of hefty burgers and chicken wings and drinks on trays hovering atop their stable, splayed palms. From behind the stage a meow of tuning guitar strings and an arpeggio chord from a sax, a chunky A from a bass. Anticipation now. Those exciting moments before the music begins to seize and seduce.

The voices were loud, words indistinct, as the untabled patrons jockeyed for the best position in the standing-room area. Since the stage wasn’t high and the floor was flat, it was sometimes hard to get a good view of the acts. A bit of jostling but few hard words.

That was the Solitude Creek club. No hostility.

Safe…

However, there was one thing that Michelle Cooper didn’t care for. The claustrophobia. The ceilings in the club were low and that accentuated the closeness. The dim room was not particularly spacious, the ventilation not the best; a mix of body scent and aftershave/perfume clung, stronger even than grill and fry tank aromas, adding to the sense of confinement.

The sense that you were packed in tight as canned fish. No, that never sat well with Michelle Cooper. And she and her daughter were at a table dead center, inches from other patrons. She could smell sweat, drug-store perfume, garlic.

Michelle brushed absently at her frosted blond hair and looked again at the exit doors—not far away—and felt reassured.

Another sip of wine.

She noted Trish checking out a boy at a table nearby. Floppy hair, narrow face, hips skinny. Good looks to kill for. He was drinking a beer and so mother vetoed Trish’s inclination instantly, if silently. Not the alcohol, the age; the drink meant he was over twenty-one and therefore completely out of bounds for her seventeen-year-old.

Then she thought wryly: At least I can try.

A glance at her diamond Rolex. Five minutes.

Michelle asked, “Was it ‘Escape’? The one that was nominated for the Grammy?”

“Yeah.”

“Focus on me, child.”

The girl grimaced. “Mom.” She looked away from the Boy with the Beer.

Michelle hoped Lizard Annie would do the song tonight. “Escape” was not only catchy but it brought back good memories. She’d been listening to it after a recent first date with a lawyer from Salinas. In the six years since a vicious divorce, Michelle’d had plenty of awkward dinners and movies, but the evening with Ross had been fun. They’d laughed. They’d dueled about the best Veep and Homeland episodes. And there’d been no pressure—for anything. So very rare for a first date.

Mother and daughter ate a bit more artichoke dip and Michelle had a little more wine. Driving, she allowed herself two glasses before getting behind the wheel, no more.

The girl adjusted her pink floral headband and sipped a Diet Coke. She was in black jeans, not too tight—yay!—and a white sweater. Michelle was in blue jeans, tighter than her daughter’s, though that was a function of exercise failure, not a fashion statement, and red silk blouse.

“Mom. San Francisco this weekend? Please. I need that jacket.”

“We’ll go to Carmel.” Michelle spent plenty of her real estate commissions shopping in the classy stores of the picturesque and excessively cute village.

“Jeez, Mom. I’m not thirty.” Meaning ancient. Trish was simply stating the more or less accurate fact that shopping for cool teen clothes wasn’t easy on the Peninsula, which had been called, with only some exaggeration, a place for the newly wed and the nearly dead.

“Okay. We’ll work it out.”

Trish hugged her and Michelle’s world glowed.

She and her daughter had had their hard times. A seemingly good marriage had crashed, thanks to cheating. Everything torn apart. Frederick (never “Fred”) moving out when the girl was eleven—what a tough time for that. But Michelle’d worked hard to create a good life for her daughter, to give her what had been yanked away by betrayal and the subsequent divorce.

And now it was working, now the girl seemed happy. She looked at her daughter with moon eyes and the girl noticed.

“Mom.” A sigh. “What?”

“Nothing.”

Lights down.

P.A. announcements about shutting off phones, location of fire exits, upcoming shows, were made by the gravel-voiced owner of the club himself. The venerable Sam Cohen, an icon in the Monterey Bay area. Everybody knew Sam. Everybody loved Sam.

Cohen’s voice continued, “And now, ladies and gentlemen, Solitude Creek, the premiere roadhouse on the West Coast…”

Applause.

“Is pleased to welcome, direct from the City of Angels…Lizard Annie!”

Frantic clapping now. Hooting.

Out came the boys. Guitars were plugged in. The seat behind the trap set occupied. Ditto the keyboard.

The lead singer tossed his mass of hair aside and lifted an outstretched palm to the audience. The group’s trademarked gesture. “Are we ready to get down?”

Howling.

“Well, are we?”

The guitar riffs started. Yes! The song was “Escape.” Michelle and her daughter began to clap, along with the hundreds of others in the small space. The heat had increased, the humidity, the embracing scent of bodies. Claustrophobia notched up a bit. Still, Michelle smiled and laughed.

The pounding beat continued, bass, drum and the flesh of palms.

But then Michelle stopped clapping. Frowning, she looked around, cocking her head. What was that? The club, like everywhere in California, was supposed to be nonsmoking. But somebody, she was sure, had lit up. She definitely smelled smoke.

She looked around but saw no one with a cigarette in mouth.

“What?” Trish called, her eyes scanning her mother’s troubled expression.

“Nothing,” her mother replied and began clapping out the rhythm once again.

Ten minutes later, at the third word into the second song—it happened to be love—Michelle Cooper knew something was wrong.

She smelled the smoke more strongly.

“Mom?” Trish was frowning, looking around too. Her pert nose twitched. “Is that…”

“Yeah, it is,” Michelle whispered. She couldn’t see any fumes but the smell was unmistakable and growing. And it wasn’t cigarette smoke. Smoke from burning wood or paper.

Or the old, dry walls or flooring of a very congested roadhouse.

“We’re leaving. Now.”

She rose abruptly. An instant later: screams. And then the panic began.