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![]() The Prey Series Mortal Prey Virgil Flowers The Kidd Series Other Novels Etcetera | Mortal Prey The Prey series contains strong language and scenes
of graphic violence and sex, and it may thus be inappropriate or offensive to
some readers. The excerpt below is the complete first chapter of
Mortal Prey, and it has not been censored in any way. If you are
offended by this sort of material, or will get in trouble for reading it (e.g.
if your parents think it would be inappropriate for you), do not
continue. Thank you. The thought popped into her head as she lay in the soft-washed
yellowed sheets in the hospital bed. The thought popped in between the gas
pains and muscle spasms, through the pungent odor of alcohol swabs, and if
she'd read the thought in a book, she might have smiled at it. She wasn't smiling at anything now. She stared past the IV drip bag at the whitewashed plaster
ceiling and tried not to groan when the pains came, knowing that they would
end; tried not to look at the hard-eyed Mexicano at the end of the bed, his
hand never far from the pistol that lay under the newspaper on the arm of his
chair. Tried not to think about Paulo. Tried not to think about anything, but sometimes the thoughts
popped up: tall, wiry Paulo in his ruffled Tuxedo shirt, his jacket on the
chair, a glass of red wine in one hand, his other hand, balled in a fist, on
his hip, looking at himself in the full-length mirror on the back of his
bedroom door, pretending to be a matador. Paulo with the children's book,
"Father Christmas," sitting naked at her kitchen table with a glass of milk and
a milk mustache, delighted by the grumpy Santa Claus. Paulo asleep next to her,
his face pale and trusting in the day's first light, the soft light that came
in over the gulf just before sunrise. But the thought that might have made her smile, if it was in a
book, was: Just like the fuckin' Godfather. Like this: An Italian restaurant called "Gino's," with the
full Italian-cliche stage-setting sienna orange walls, bottles of
Chianti with straw wrappers, red-and-white checked tablecloths, baskets of hot
crusty bread as soon as you sat down, the room smelling of sugar and wheat,
olives and peppers, and black oily coffee. A few rickety tables outside faced
the Plaza de Arboles and the Fifties tourist-coordinated stucco church across
the way, San Fernando de Something-or-Other. The church belfry contained a
loudspeaker that played a full, slow bell version of the Singing Nun's
Dominque, more or less at noon, depending on whose turn it was to drop the
needle on the aging vinyl bell-record. Paulo took her to lunch almost every day, picking her up at
the hotel where she worked as a bookkeeper. They'd eat Mexican one day,
California or French the next, Italian twice a week. He picked her up about
noon, so on most days she could hear, near or far, the recorded bells of San
Fernando's. Gino's was the favored spot. Despite the cliched Italian
stage-setting, there was an actual Gino cooking at Gino's, and the food was
terrific. Paulo would pick her up in a black BMW 740iL, his business car, with
his smooth-faced business driver. They'd hook up with friends, eat a long
Caribbean lunch and laugh and argue and talk politics and cars and boats and
sex, and at two o'clock or so, they'd all head back to work. A pattern: not predictable to the minute, but predictable
enough. Israel Coen sat up in choir loft at the back of the church
with his rifle, a scoped Remington Model 700 in .30-06. He'd sighted it in
along a dirt track west of town, zeroed at exactly sixty yards, the distance
he'd be shooting across the Plaza de Arboles. There was no problem making the
shot. If all you wanted was that Izzy Coen make a sixty-yard shot with a scoped
Remington 700, you could specify which shirt button you wanted the slug to
punch through. Not that everything was perfect. The moron who bought the gun
apparently thought that bigger was better, so Izzy would be shooting at sixty
yards through an eight-power scope, and about all he could see was a shirt
button. He would have preferred no magnification at all, or an adjustable
two-to-six power scope, to give him a little room around the cross-hairs. But
he didn't have that, and would have to make-do. The problem with the scope was exacerbated by the humidity in
the loft. Not only was the temperature somewhere in the 120s, he thought, but
the humidity must have been ninety-five percent. He'd sweated through his shirt
at his armpits and across his chest, and the sweat beaded on his cheeks and
forehead and arms. When he put the rifle to his cheek, the scope fogged over in
matter of seconds. He had a bottle of spring water with him, and that helped
keep his body cool enough to function, but there was nothing he could do about
the fogging eyepiece. The shot would have to be a quick one. No matter. He'd scouted the play for three days, he knew what
the conditions would be, and he was ready, up high with a rifle, yellow vinyl
kitchen gloves protecting against the inadvertent fingerprint, the jeans and
thin long-sleeved shirt meant to guard against DNA traces. Izzy was good. He'd been in the loft for an hour and ten minutes when he saw
the 740iL ease around the corner. He had two identical Motorola walkie-talkies
sitting next to his feet. Izzy believed in redundancy. He picked up the first
walkie-talkie, pushed the transmit button and asked, "Hear me?" "Yes." "Come now." "One minute." Ten of them had been sitting in the back of Gino's, the talk
running down, a friend leaving and then another, with his new girlfriend, who'd
been brought around for approval. Then Paulo looked at his watch and said to
Rinker, "We better get back." "Just a minute," she said. "Turn this way." She turned his
chin in her hand, dipped a napkin into a glass of water, and used the wet cloth
to wipe a nearly invisible smear of red sauce away from his lower lip. "I was saving that for later," he protested. "I couldn't send you back that way," she said. "Your mother
would kill me." "My mother," he said, rolling his black eyes. They walked out of the Italian restaurant Just like the
fuckin' "Godfather" and the black BMW stopped beyond the balustrade that
separated the restaurant's patio from the Plaza. They walked past an American
who sat at a circular table in his Hawaiian shirt and wide-brimmed flat hat,
peering into a guidebook all the details as clear and sharp three days
later, in the hospital, as the moment when it happened and the driver
started to get out and Paulo called, "I got it, I got it," and Rinker reached
for the door handle but Paulo beat her to it, stepping in front of her in that
last little quarter second of life... The shot sounded like a firecracker, but the driver knew it
wasn't. The driver was in his pocket as Rinker, suddenly feeling ill not
in pain, yet, but just ill, and for some inexplicable reason, falling
went to the ground, Paulo on top of her. She didn't understand, even as a
roaring, ripping sound enveloped her, and she rolled and Paulo looked down at
her, but his eyes were already out of control and he opened his mouth and his
blood gushed onto her face and into her mouth. She began screaming as the
roaring sound resumed. She rolled and pushed Paulo down on the cobbles and turned his
head to keep him from drowning in his own blood, and began screaming at the
driver, "Paulo, Paulo, Paulo..." The driver looked at her, everything slow-moving. She saw the
boxy black-steel weapon in his hand, a gun like she hadn't seen before. She saw
his mouth open as he shouted something, then he looked back over the car and
then back down at Paulo. Then he was standing over them, and he lifted Paulo
and put him on the back seat, and lifted her, and put her in the passenger
seat, and in seconds they were flying across the Plaza, the hospital three
minutes away, no more. She looked over the seat, into Paulo's open eyes; but Paulo
wasn't there any more. Paulo had gone. She could taste his blood in her mouth,
crusting around her teeth, but Paulo had left the building. Izzy Coen said, "Goddamnit," and he wasn't sure it'd gone
right. The scope had blocked too much and he ran the bolt and lifted the rifle
for a second shot, the bodies right there, and he saw the driver doing
something and then as Izzy lifted the rifle the driver opened up and the front
of the church powdered around him and Izzy thought, "Jeez..." An Uzi, he thought, or a gun just like it. Izzy rolled away
from the window as the glass blew inward, picked up the two walkie-talkies and
scrambled to the far corner of the loft and the steel spiral stair, the bullets
flying around him like bees. He dove down the stair and punched through the
back door, where a yellow Volkswagen Beetle was waiting with its engine
running. Izzy threw the gun in the back, climbed in and slammed the door. The
driver accelerated away from the church's back door and shouted, "What was
that? What was that gun?" "Fuck if I know," Izzy said. He was pulling off the latex
gloves, shaking glass out of his hair. Blood on his hand he dabbed at
his cheek: just a nick. "A fuckin' Uzi, maybe." "Uzi? What is this Uzi?" "Israeli gun, it's a machine gun..." "I know what IS a fuckin' Uzi," the driver shouted. "WHY is
this fuckin' Uzi? Why is this?" "I don't know," Izzy said. "Just get us back to the plane and
maybe we can find out." The airstrip was a one-lane dirt path cut out of a piece of
scraggly jungle twenty kilometers west of the city. On the way, the driver got
on his cell phone and made a call, shouting in Spanish over the pounding of the
Volkswagen. "Find out anything?" Izzy asked, when he rang off. "I call now, maybe find out something later," the driver said.
He was a little man who wore a plain pink short-sleeved dress shirt with khaki
slacks and brown sandals. His English was usually excellent, but deteriorated
under stress. A couple of kilometers east of the airstrip, they stopped and
the driver led the way through a copse of trees to a water-filled hole in the
ground. Izzy wiped the Remington and threw it in the hole and tossed the box of
shells in after it. "Hope it doesn't dry up," he said, looking at the ripples
on the black water. The driver shook his head. "There's no bottom," he said. "The
hole goes all he way to hell." The phone rang on the way back to the car and
the driver answered it, spoke for a minute, and then clicked off with a nervous
sideways glance at Izzy. "What?" "Two dead," the driver said. "One bullet?" "One shot," Izzy said with satisfaction. "What was that
machine gun?" The driver shrugged. "Bodyguard, maybe. Nobody
knows." The airstrip terminal was a tin-roofed, concrete block
building, surrounded by ragged palmettos, with an incongruous rooster-shaped
weather vane perched on top. What might have been a more professional windsock
hung limply from a pole beside the building, except that the windsock was
shaped like a six-foot-long orange trout, and carried the legend, West
Yellowstone, Montana. A Honda generator chugged away in a locked steel box
behind the building, putting out the thin stink of burnt gasoline. Finger-sized
lizards climbed over walls, poles and tree-trunks, searching for bugs, of which
there were many. Everything about the place looked as tired as the windsock.
Even the trees. Even the lizards. From the trip in, Izzy knew the generator ran an ancient air
conditioner and an even older dusty-red Coca-Cola cooler inside the building,
where the owner sat with a stack of Playboy magazines, a radio and a can of
Raid for the biting flies. "I'll call again," the driver said. "You check on the
plane." When Izzy had gone inside, the driver, now sweating as heavily
as the American, dug a revolver out from under the front seat of the
Volkswagen, swung the cylinder out and checked it, closed the cylinder and put
the gun under his belt at the small of his back. Izzy and the driver had known each other for a few years, and
there existed the possibility that the driver's name was on a list somewhere;
that somebody knew who was driving Israel Coen around Cancun. But the driver
doubted it. Nobody would want to know the details of a thing like this, and
Izzy wouldn't want anyone to know. Only two people had seen the driver's face and Izzy's in the
same place: Izzy himself, and the airport manager. The driver walked into airport building and pulled the door
shut. The building had four windows, and they all looked the same way, out at
the strip. And it was cool inside. Izzy was talking to the airport manager, who
sat with a Coca-Cola at a metal desk, directly in front of the air
conditioner. "Is he coming?" the driver asked. "He's twenty minutes out," Izzy said, and the airport manager
nodded. The driver yawned. He had twenty minutes. Not much time. "Nice
trip," he said to Izzy. He tipped his head at the door, as though he wanted to
speak privately. "Hope your business went well." "Let me get my bag," Izzy said. He stepped toward the door,
and the driver pulled it open with his left hand and held it. Izzy stepped out,
the driver right behind him, his right hand swinging up with the revolver. When
it was an inch behind Izzy's head, he pulled the trigger and Izzy's face
exploded in blood and he went down. The driver looked at the body for a moment,
not quite believing what he'd done, then stepped back inside. The airport
manager was half out of his chair, body cocked, and the driver shook his head
at him. "Too bad," he said, with real regret. "We've known each other for a long time," the airport manager
said. "I'm sorry." "Why is... let me say a prayer." "No time," the driver said. "Today we killed Raul Mejia's baby
boy." He shot the airport manager in the heart, and again in the
head to made sure. Back outside, he shot Izzy twice more, the shots sounding
distant in his own ears, as if they'd come from over a hill. He dragged the
body inside the airport building, and dumped it beside the airport manager's.
He took Izzy's wallet and all of his cash, a gold ring with a big red stone and
the inscription, University of Connecticut, 1986, and every scrap of paper he
could find on him. He also found the padlock for the door on the manager's
desk, and the key to the generator box in the manager's pocket. He went
outside, padlocked the door behind himself, killed the generator. There was a
black patch of bloody dirt where Izzy's head had landed. He scuffed more dirt
over it, got back in his Volkswagen, and pulled away. Raul Mejia's baby boy. The driver would have said a prayer for himself, if he could
have remembered any. Rinker didn't know the names of the players. When she woke up
she was in the hospital's critical care unit, three empty beds with monitoring
equipment, and her own bed. Anthony and Dominic, Paulo's brothers, were sitting
at the foot of the bed. She couldn't quite make out their faces until Anthony
stood up and stepped close. Her mouth was as dry as a saltine cracker:
"Paulo?" Anthony shook his head. Rinker turned her face away, opened
her mouth to cry, but nothing came out. Tears began running down her face, and
Anthony took her hand. "He was, he was dead when they got here...We, uh, you have
been in surgery. We need to know, did you see the man who shot you?" Rinker wagged her head, weakly: "I didn't see anything. I just
fell down, I didn't know I was shot. Paulo fell on top of me, I tried to turn
his head, he was bleeding..." More tears, and Dominic was turning his straw hat in his
hands, pulling the brim though his fingers in a circular motion, like a man
measuring yards of cloth. "We are trying to find out who did this the police are
helping," Anthony said. "We, uh...You will be all right. The bullet went
through Paulo and fell apart, and the core went into you, in your stomach. They
operated for two hours and you will be all right." She nodded, but her hand twitched toward her stomach. "I think I'm, I might have been, I think..." she began,
looking at Anthony, and then Dominic, who had stepped up beside his
brother. Dominic now shook his head: "You have lost the baby." "Oh, God." Dominic reached out and touched her covered leg. He was tough
as a ball bearing, but he had tears rolling down his cheeks. He said. "We'll
find them. This won't pass." She turned her head away and drifted. When she came back,
they'd gone. She was in the hospital for a week: missed Paulo's funeral,
slept though a visit by Paulo's father. On the fourth day they had her up and
walking, but they wouldn't let her go until she had produced a solid bowel
movement. After that painful experience, she was wheeled out to one of the
family's black BMWs, and was driven to the Mejia family compound in Merida.
Paulo's father, rolling his own wheelchair though the dark tiled hallways, met
her with an arm around her shoulder and a kiss on the cheek. "Do you know what happened?" she asked. He shook his head. "No. I don't understand it, yet. We've been
asking everywhere, but there is no word of anything. Some people who might, in
theory, have reason to be angry with us from years ago have let it be known
that they were not involved, and have offered to help find those who
were." "You can believe them?" she asked. "Perhaps. We continue to look... There was a strange
circumstance the day Paulo was killed." He hesitated, as if puzzling over it,
then continued. "Two men were killed at an airstrip not far from here. Shot to
death. One was the airstrip manager and the other was an American. There was no
indication that they were involved with Paulo's assassination. With that strip,
there is always the question of unauthorized landings" he meant drug
smuggling "but still, it is a strange coincidence. The American was
identified through fingerprints. He was not involved in trade, in..." he made a
figure-eight in the air with his fingers, meaning drugs "But he served
time in prison and was believed connected to American organized crime, to the
Mafia. A minor person, he was not important. We are asking more questions of
our police and our police are talking with the Americans. We will find out
more, sooner or later." "When you find them," Rinker said through her teeth, her cold
eyes only inches from the old man's, "When you find them, kill them." His eyes held hers for a moment, doing an assessment of the
woman he knew as Cassie McLain. They didn't know each other well, but the old
man knew that Paulo's involvement with her was more than casual; knew she'd
been pregnant with one of his own grandchildren, this tidy blonde American with
the perfect Spanish. After the moment, he nodded: "Something will be done," he
said. "This dead American at the airstrip," she said at the end of
the audience. "Do you even know where he was from?" "That we know," he said. He closed his eyes for a minute,
parsing the information in his head. He smelled lightly of garlic, and had
fuzzy ears, like a gentle Yoda. There was a legend that in his early years,
he'd had an informer hung upside down by his ankles, and had then lit a fire
under his head. According to the legend, the informer stopped screaming only
when his skull exploded. Now Mejia opened his eyes and said, "He lived in a
town in Missouri, called Normandy Lake. A woman who lived there told the
Missouri police that he'd gone to Cancun on vacation. She said she would come
for the body, but she didn't come. When the police went back to the house, she
had gone. She packed all her personal belongings and had gone away." "That's crazy," Rinker said, shaking her head. But her brain
was moving now, cutting through the glue that had held her since the shooting,
and she was touched by a cool tongue of fear. After a moment, she said, "I
don't want to go home. I'm a little frightened. If it would be all right, I
would like to go to the ranch until I can walk. Then I think I will go back to
the states." "You are welcome to stay as long as you wish," the old man
said. He smiled at her. "You may stay forever, if you wish. The friend of my
baby." She smiled back: "Thank you, Papa, but Cancun..." She made the
same figure-eight in the air as he had. "Cancun is Paulo. I think it would be
better to go away when I am well." One of the old man's bodyguards wheeled her back out to the
BMW, and as the car pulled away, she looked at the driver's shoulders and the
back of his head and realized that she now knew more about what happened at
Gino's than the old man did. She knew that the bullet hadn't been aimed at Paulo, but at
her. If the old man found out that his baby boy had been killed
because of Rinker, and that Rinker had never told them of the danger she
hadn't expected it, hadn't believed it could happen then maybe the old
man's anger would be directed at her. She shivered at the thought, but not too much, because Rinker
was as cold as the old man. Instead of worrying, she began planning. She
couldn't do anything until she got her strength back, which might take some
time. She'd benefitted from the report put out by the Mejia family and the
Mexican police that she'd been killed along with Paulo at the time,
they'd done it simply to protect her from a possible clean-up attempt, if it
turned out that she'd seen the shooter. The story would serve her well enough. The St. Louis goombahs
didn't have anything going in Mexico, as far as she knew, and the only
information they would have gotten would have come from the newspapers. On the other hand, with the old man pushing his drug-world
contacts, sooner or later the truth would come out. By that time, she had to
have made her move. Before she talked to the old man, she hadn't had anything to
do; now, she'd be busy. As Cassie McLain, she'd retired, and was living on her
investments. As Clara Rinker, she had to move money, retrieve documents, talk
to old acquaintances across the border. She had to be healthy to do it all. Rinker spent a month at the old man's ranch, living in a
bedroom in the main house, with an armed watcher to follow her around. The
middle brother, Dominic, visited every third day, arriving at noon as regular
as clockwork, to bring her up to date on the family's investigation. All the time at the ranch, she waited for her image of Paulo
to fade. It never did. To the very end of her stay, she could smell him, she
could taste the salt on his skin, she still expected to see him standing in the
kitchen, listening to futbol on a cheap radio, his white grin and black tossled
hair and his weekend bottle of American-style Corona... By the second week on the ranch, bored but still weak, feeling
more and more pressure to move while remaining determined not to move until she
was solid, she began talking with her watcher. His name was Jaime, a short,
hard man with a deeply burned face and brushy mustache. He was good-natured
enough, and went everywhere with a pistol in his pocket and an M-16 in the back
of his truck. Rinker said, "Show me about the M-16." After a little talk, and perfunctory protests by Jaime, he
hauled two chairs out to a nearby gully, set up a target range, and showed her
how to fire the M-16. She did well with the weapon and he became interested
he was a gunman, deeply involved with the tools of his profession
and brought out other guns. A scoped, bolt-action Weatherby sporting rifle, a
pump .22, a lever-action trienta-trienta, and a shotgun. They spent two or three hours a day shooting: stationary
targets, bouncing tires, and, with the .22, they'd shoot at clay pigeons thrown
straight away. The clays were almost impossible to hit at the end, she
might hit one or two out of ten, learning to time her shots to the top of the
target's arc. As they shot, Jaime talked about rifle bullets and loads, wind
drift and heat mirages, uphill and downhill shooting, do-it-yourself
accurizing. He liked working with her because she was serious about it, and
attractive. An athlete, he thought, though she didn't really work at it, like
some gym queens he knew in Cancun trim, smart, and pretty in a blonde
gringo way. And she knew about men. He might have put a hand on her,
himself, if she hadn't been in mourning, and mourning for the son of Raul
Mejia. He remained always the professional. "There is no way that you can carry or keep a long gun for
self-protection," he told her. "With a handgun, you have it always by your
hand, like the name says. With a rifle, which is very good if you have it in
your hand, well, it will be in the bedroom and you will be in the kitchen when
they come for you. Or you will be sitting in the latrine with your pants around
your ankles and a Playboy in your hands maybe not you, but me, anyway
and the rifle will be leaning against a tree, and that's when they will
come. So this gun..." He slapped the side of the M16. "... This gun is fine
when you are shooting, but you must learn the handgun for
self-protection." She demurred. She wanted to learn the long guns, she said.
Rifles and a shotgun. Not a double-barreled bird gun or anything cute, but a
stubby, fat-barreled combat pump. She didn't want to learn how to shoot any
fuckin' birds: give her a shotgun and a moving target five yards away... He shook his head and smiled good-naturedly and showed her the
long guns, two weeks of first-class tuition, but he kept coming back to the
handgun. "Just try it," he'd say. "You are very natural with a gun. The best
woman I have ever seen." "Shooting's not exactly rocket science," she'd said, but the
phrase didn't translate well into Spanish; didn't come off with the irony of
the English. In her second two weeks on the ranch, she went a half-dozen
times into town, to her apartment, and gathered what she needed to move. She
also wiped the place: there'd be no fingerprints if anyone came looking for
her. Then one Wednesday, after she'd been on the ranch for a month, Dominic
came out and said, "We've got word about a man who some people say might have
been the driver for the shooting. We don't know where he is, but we know where
his family is, so we should be able to find him. Then we might learn
something." "When?" she asked. "By the weekend, I hope," Dominic said. "We have to know where
this came from, so we can get back to business. And for Paulo, of
course." That was on a Wednesday. She was still not one-hundred
percent, but she was good enough to run. She'd handled everything she could by
phone, she had documents she could get to, she'd moved the money that had to be
moved. She would leave on Thursday afternoon. She'd already worked it out: She had two doctor's appointments
each week, on Monday and Thursday. The driver always waited in the lobby of the
clinic. When she came out of the doctor's office, if she turned left instead of
right, she would be at least momentarily free on the streets of Cancun, and not
ten yards from a busy taxi stand. She should have half an hour before the driver became curious.
If she got even two minutes, she'd be gone. She'd done it before. Rinker and Jaime went for one last shooting session on
Thursday morning, with the shotgun. Jaime had six solid-rubber, fourteen-inch
trailer tires that he could haul around in a John Deere utility wagon. They
went out to the gully and Jaime rolled the tires, one at a time, down the rocky
slope. The tires ricocheted wildly off the rocks, while Rinker tried to
anticipate them with the twelve-gauge pump. When she hit them, at ten yards,
she'd knock them flat, but on a good day, she struggled to hit half of them
with the first shot. She learned that a shotgun, even at close range, wasn't a
sure thing. When she'd emptied the shotgun, they'd pick up the tires and
Rinker would drive them to the top of the slope and roll them down while Jaime
shot at them. Taking turns. He did no better than she did, though they both
pretended that he did. On this day, she made what she thought later was almost
a mistake. Jaime pulled the Beretta from his belt-clip and said, "Just
one time with the handgun, eh? Make me happy." "Jaime..." with asperity. "No, no, no..." He wagged his finger at her. "I insist. We
have time before the doctor, and this you should learn." "Jaime, Goddamnit..." He ignored her. A half dozen empty Coke cans sat in the back
of the John Deere, and he threw three of them down the gully. "You can do this.
You will find it much harder than the rifle or the shotgun..." "Give me the gun, Jaime," she said, making the
almost-mistake. He stopped in mid-sentence, looked at her, and handed her the
Beretta. She'd always liked that particular gun when she was shooting nines: it
seemed to fit in her hand. And she liked Jaime and might have wanted to impress him a
bit, on this, her last afternoon. She flipped the safety and pulled down on one
of the cans and shot it six times in three seconds before it managed to flip
its now-raggedy ass behind a rock. They stood in a hot, dusty, powder-smelling silence for
several seconds, then Rinker slipped the safety on and passed the piece back to
Jaime. Jaime looked at the gun, then at her and said, after a while,
"I see." He didn't really. He'd probably find out soon enough. That afternoon, she ran. |
13 May 2008 The Prey series, the Virgil Flowers series,
the Kidd series, The Night Crew, Dead Watch, The Eye
and the Heart: The Watercolors of John Stuart Ingle, and Plastic
Surgery: The Kindest Cut are copyrighted by John Sandford. All excerpts are
used with permission. All original content on the website (excluding the message
board and some other specifically disclaimed text) is copyright © 2008 by
Roswell Anthony Camp. Please do not steal anything from these pages. If you
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