John Sandford - The Fools Run (Kidd)

The Fool's Run

John Sandford

*

PROLOGUE:

It was hard work, which he hadn't expected. The thief removed each leaf from the blueprint book, squatted and centered it between tape markers on the rug. When it was in place, he stood up, squinted through the camera's viewfinder, and tripped the shutter. Then he did it again, ninety-four times, a long half hour of deep knee bends.

As he worked, he talked to himself: "Ooo, that's got it, Danny... Awright, motherfucker... Let's move this sucker a leetle bit this way...

When he finished, he was sweating. He turned off the photo-flood and lit a cigarette.

The thief was tall and sandy haired, with a long English face, beaked nose, and china-blue eyes. His ruffled-front shirt was buttoned and cuffed with onyx studs. He wore tuxedo trousers, a black cummerbund, and patent leather shoes. A tuxedo jacket was folded over the back of a visitor's chair.

The thief was working in his own office. The desk was real oak, the carpet real wool. The two regulation plants, a palm and something else, were plastic, but exceptionally authentic.

At the back of the office, an old-fashioned drafting table stood beneath a window. He didn't use it; it was a harmless affectation allowed an upper-middle manager. A swing-arm lamp was mounted on the drafting table, though, and that had been useful. The thief replaced the lamp's 100-watt incandescent bulb with a floodlight and maneuvered the lamp out over the carpet. The light on the blue prints was flat and even. The pictures would be perfect.

After a dozen drags on his cigarette, the thief snubbed it out and began rebinding the blueprints. As he clipped the pages in place, he paused occasionally to listen. Except for the odd plonks and plunks, the building was quiet. When he finished with the blueprints, he set them aside and turned to a second book.

This book was also loose-leaf, but smaller, the size of a telephone directory. Its 706 pages were covered with computer code. He could photograph four pages at a time. The pages would be out of order on the film, but that made no difference as long as he got them all. It took him two hours and fifteen minutes to make the copies.

"Jesus Christ," he muttered as he picked up the last two pages. His knees cracked when he stood, and his lower back ached. He lit another cigarette, stretched, and looked idly around the office.

He had spent a thousand days in it, but never breached its built-in anonymity. Memos, business cards, and procedure statements were thumb-tacked to a bulletin board beside the desk. A photo of himself, riding backward on a bicycle at a company picnic, was pinned in the lower corner. A cartoon from The New Yorker was mounted next to it. A gold-framed photo of Margo, with Tammy and Ben on her lap, sat on his desk, next to an onyx ashtray from Cancun. There was little else that was personal.

When he finished a second cigarette, the thief picked up the code book and the unwieldy blueprint binder and stepped into the darkened hallway. The executive suite was empty. The annual directors' dinner began in an hour. All the hustlers and hotshots would be there early.

"All the hustlers, Danny," he muttered through his teeth. He would be late and would miss the cocktails. But he wasn't so important that his tardiness would be noticed, he thought with a touch of bitterness.

Down two floors was the security library. The thief carried the books down the fire stairs and through another dark hallway and opened the library door with a key from a steel ring. Inside, he went to a separate room in the back, opened the fire door with another key, and put the books back on the shelves from which he'd gotten them three hours earlier.

As he shut and locked the library door, he was seized by a graveyard chill. Footsteps? No. There was no one there. He pulled the key out of the lock and hurried- scurrying,he thought, like a rat- back to his office, suddenly afraid of the dark. Afraid that somebody would step out of a doorway and say, " We know what you're doing..."

Inside the office, his heart pounding, the thief put the original bulb back into the drafting lamp, dropped the floodlight into a brown paper sack, and crushed it under his heel. He would dump the sack in a trash basket on the way out.

The film cassettes he tucked under his cummerbund, like so many bullets in a cartridge belt. The camera, on a short strap, went over his shoulder, under and slightly behind his armpit. With the tuxedo jacket covering it, the camera would be invisible. Satisfied, he turned out the light, picked up his alligator briefcase, and rode the elevator down eight floors to the lobby.

The guard at the front desk was watching an Orioles-White Sox game on a grainy black-and-white television. He turned his head at the sound of the elevator.

"How are we doing?" the thief said as he crossed the marble floor.

"Down three to two, but we're coming up in the eighth." The guard pushed the sign-out register across the desk. "You going to the big party?"

"Yes." The thief glanced at his watch. Right on time. The guard checked his briefcase, deferentially opening the half dozen file folders inside. They contained routine personnel papers. Nothing technical.

"S'okay, and have a good time," the guard said. "Don't do anything I wouldn't."

"I'll be careful," said the thief, with a quick, pleasant smile. His teeth were white against his dark face. Sharp dresser, the guard thought as the thief went down the steps and out the door, though his tux was a little too full in the shoulder.

The guard looked at his watch and sighed. Five hours to go. He opened the drawer that held his lunchbox where a package of Hostess cupcakes waited. He knew if he ate them now, he'd regret it at lunch time. He opened the box and took out the cellophane-covered cupcakes and stared at them. Chocolate frosting with pink squiggles. God, it was a lonely job.

Chapter

He was tall and lanky and wore an expensive white summer suit with a complementary cream-colored shoulder bag and jet-black wraparound fuck-you sunglasses. Her ash-blond hair just touched her shoulders.

She would fit in nicely with the Concorde crowd. On the river, she was wildly out of place. Her business heels dug into the side of the levee as she came down. The summer suit, light as it was, clung to her thighs like wet paint. At the base of the levee she brushed through a screen of head-high willows, took a few steps out on the sand, kicked off her shoes, and scooped them up with one hand. She walked like an athlete, like a long-distance runner.

I was working on a sandbar below the St. Paul Municipal Airport, where the Mississippi curls away from the Twin Cities. It's a rough river off the bar, deep and muddy brown. It smells of dead carp, rotting wood, and diesel fuel. A half mile upstream, the St. Paul skyline soars over the river, the buildings more impressive for the hundred-foot bluffs beneath them.

A gravel road ran behind the levee, so it was possible to get in by car, as the blonde had. I'd come by water. The boat was tied off on a driftwood stump, and the easel sat out on the sand, facing the bluff across the river.

I work in watercolor and sometimes pastel. A newspaper critic once wrote that "Mr. Kidd paints in a colorful representational style borne of the Second Generation of New York School Abstract Expressionism." One of the basic rules of life is that artists don't question favorable newspaper reviews. But I brood about that borne when I've had too much beer or gotten stuck on a tough painting. Did he mean born? Or did he really mean borne?

I had to give up on the day's painting. This bluff was a monster. The rock was mostly a golden yellow, crossed halfway down by a band of pink. Weedy little saplings sprouted from crevices on the rock face, and the mix of green leaves and pink rock set up uncontrollable vibrations. Then too, I'd made a couple of bad moves. I said "shit" and stopped. The painting was gone.