First Daughter - Eric van Lustbader [44]
Beyond the windshield, the climbing sun bludgeons blue shadows into gutters and doorways. The wind sends sprays of garbage through the early morning. Soot rises into miniature tornados. An old woman in garters pushes a shopping cart piled high with junk. An emaciated man, fists clenched at his side, howls at invisible demons. An empty beer bottle rolls into his foot and he kicks it viciously. The old woman scuttles after it, stuffs it into her cart, grunting with satisfaction.
But this ever-changing scene with all its sad detail nevertheless seems distant and dull compared with the interior of the car, which is alive with Gus's fevered presence. It is as if his inner rage has frightened the very molecules of the air around him. It feels hot in the car, despite the roar of the air conditioner, and Jack somehow intuits that this unnatural heat is exceedingly dangerous.
Jack went once to the zoo with his class at school, while he was still going to school. He was both drawn to and terrified by the bears. In their black bottomless eyes he saw no malice, only a massive power that could never be harnessed for long, that could turn instantly deadly. He imagined such a bear in his room at night, raising its snout at the small sounds his father made, its wet nostrils flaring at the scent of his father's approach. The music would mean nothing to the bear; it ignored Mama Cass and the others. And when the door to the bedroom swung inward, the bear would swat the man down before he could raise the belt. Of course, no such creature existed—until the moment Jack stepped into the white Lincoln Continental, felt the electricity sizzling and popping as it had through the bars of the bear's cage.
"You know where Andre hangs out," Jack says because he has a desperate need to banish a silence that presses on him like a storm descending.
"Don't know, don't care," Gus says as they round a corner.
Jack is trying hard to follow, but everything that's happened to him over the last several hours is so out of his ken, it seems a losing battle. "But you said—"
Gus gives him a swift look, unreadable, implacable. "It's not for me to punish Andre."
They drive on in silence, until Gus flicks on the cassette player. James Brown's umber voice booms from the speakers: "You know that man makes money to buy from other man."
"It's a man's world," Gus sings, his voice a startling imitation of Brown's. "True dat, bro, it fo' damn sho is."
At length, they draw up in front of the All Around Town bakery on the ground floor of a heavily graffitied tenement. Through the fly-blown plate-glass window, Jack can see several men talking and lounging against shelves stacked with loaves of bread, bins of muffins, tins of cookies.
When he and Gus walk through the front door, he is hit by the yeasty scents of butter and sugar, and something else with a distinct tang. The men fall silent, watching as Gus makes his way toward the glass case at the far end of the narrow shop. No one pays any attention to Jack.
"Cyril," Gus says to the balding man behind the counter.
The balding man wipes his hands on his apron, disappears through an open doorway in the rear wall, down a short passageway lined with stacks of huge cans, boxes, and containers of all sizes, into a back room. Jack observes the men. One curls dirt from beneath his fingernails with a folding knife, another stares at his watch, then at the third man, who rattles the pages of a tip sheet he's reading. None of them look at Gus or say a word to each other or to anyone else.
The balding man returns, nods at Gus.
"C'mon," Gus says, apparently to Jack.
Jack follows him behind the