John Sandford - Rough Country

Rough Country

VIRGIL FLOWERS

John Sandford

Chapter

THE AUGUST HEAT WAS slipping away with the day. A full moon would climb over the horizon at eight o'clock, and the view across Stone Lake should be spectacular.

All tricks of the light, McDill thought. Her father taught her that.

A full moon on the horizon was no larger than a full moon overhead, he'd told her, as a small child, as they stood hand in hand in the backyard. The larger apparent size was all an optical illusion. She hadn't believed him, so he'd proven it by taking a Polaroid photograph of a harvest moon on the horizon, the biggest, fattest, yellowest moon of the year, then comparing it to another shot of the moon when it was overhead. And they were the same size.

He took pride in his correctness. He was a scientist, and he knew what he knew.

McDill ran an advertising agency, and she knew her father was both right and wrong. Technically he was correct, but you wouldn't make any money proving it. You could sell a big fat gorgeous moon coming over the horizon, shining its ass off, pouring its golden light on whatever product you wanted to sell, and screw the optical illusion....

MCDILL SLIPPED across the water in near silence. She was paddling a fourteen-foot Native Watercraft, a canoe-kayak hybrid designed for stability. Good for a city woman, with soft hands, who wasn't all that familiar with boats.

She didn't need the stability this evening, because the lake was glassy-flat, at the tag end of a heat wave. The forecasters were predicting that the wind would pick up overnight, but nothing serious.

She could hear the double-bladed paddle pulling through the water, first right, then left, and distantly, probably from another lake, either an outboard or a chain saw, but the sound was so distant, so intermittent, so thready, that it was like aural smoke a noise on the edge of nothingness. Aquatic insects were hatching around her: they'd come to the surface and, from there, take off, leaving a dimple in the water.

A half-mile out from the lodge, she paddled toward the creek that drained the lake. The outlet was a crinkle in a wall of aspen, across a lily-pad flat, past a downed tree where five painted turtles lined up to take the sun. The turtles plopped off the log when they spotted her, and she smiled at the sight and sound of them. Another few yards and she headed into the creek, which pinched down to hallway-width for twenty yards or so, and around a turn to an open spot, rimmed with cattails.

The pond, as she called it, was a hundred and fifty yards long, and fifty wide. At the end of it, where the creek narrowed down and got about its real business running downhill a white pine stood like a sentinel among the lower trees. A bald eagle's nest was built high in the tree, and on most evenings, she'd see one or both of the eagle pair coming or going from the nest.

From down the lake, a few minutes earlier, she'd seen one of them leaving, looking for an evening meal. She idled toward the pine, hoping she'd see the bird coming back, then leaned back in the seat, hung the paddle in the side-mounted paddle holder, spread her legs and let her feet dangle over the side of the boat, in the warm summer water.

Felt the sun on her back. Dug in a polypro bag, found a cigarette and a lighter, lit the cigarette, sucked in a lungful of smoke.

Perfect. Almost.

Perfect, if only her mind would stop running.

MCDILL RAN AN ADVERTISING AGENCY, Ruff-Harcourt-McDill, in Minneapolis. Ruff was dead, Harcourt retired; and Harcourt, two weeks earlier, had agreed to sell his remaining stock to McDill, which would give her seventy-five percent of the outstanding shares.

Absolute control.

So excellent.

She'd toyed with the idea of a name change Media/McDill, or McDill Group but had decided that she would, for the time being, leave well enough alone. Advertising buyers knew RHM, and the name projected a certain stability. She would need the sense of stability as she went about weeding out the...

Might as well say it: weeds.

THE AGENCY, over the years, had accumulated footdraggers, time-wasters, slow-witted weeds more suited for a job, say, in a newspaper than in a hot advertising agency. Getting rid of them she had a list of names would generate an immediate twelve percent increase in the bottom line, with virtually no loss in production. Bodies were expensive. Some of them seemed to think that the purpose of the agency was to provide them with jobs. They were wrong, and were about to find that out. When she got the stock, when she nailed that down, she'd move.

The question that plagued her was exactly how to do it. The current creative director, Barney Mann, was smart, witty, hardworking, a guy she wanted to keep but he had all kinds of alliances and friendships among the worker bees. Went out for drinks with them. Played golf with them. Lent some of them money. He was loved, for Christ's sakes. He was the kind of guy who could turn a necessary managerial evolution into a mudslinging match.

And he'd done an absolutely brilliant job on the Mattocks Motor City campaign, no question about it. Dave Mattocks thought Mann was a genius and the Motor City account brought in nine percent of RHM's billings in the last fiscal year. Nine percent. If you lost an account of that size, you lost more than the account other buyers would wonder why, and what happened, and might think that RHM was losing its edge.

McDill wanted to keep Mann, and wondered how much of a saint he really was. Suppose she took him to dinner and simply put it on him: a partnership, options on ten percent of the stock, a million bucks up front, and no fuss when the ax came down.

In fact, he might usefully soften the blow to the people who were... remaindered. Maybe he could take charge of an amelioration fund, little tax-deductible money gifts to be parceled out as needed, to keep any pathetic tales of woe out of the media. Wouldn't have to be much...

MCDILL DRIFTED, thinking about it.

And her thoughts eventually drifted away from the agency, to the upcoming evening, about her sneaky date the night before, and about Ruth. She'd outgrown Ruth. Ruth was settling into middle-aged hausfrau mode, her mind going dull as her ass got wider. She was probably at home right now, baking a pumpkin pie or something.

In a way, McDill thought, the takeover of the agency changed everything.

Everything.

The agency was hot, she was hot.

Time to shine, by God.

THE EAGLE CAME BACK.

She saw it coming a half-mile out, unmistakable in its size, a giant bird floating along on unmoving wings.

A thousand feet away, it carved a turn in the crystalline air, like a skier on a downhill, and banked away.

McDill wondered why: the eagles had never been bothered by her presence before. She was farther away now than she had been last night, when she coasted right up to the tree trunk.

Huh. Had the eagle sensed something else?

McDill turned and scanned the shoreline, and then, in her last seconds, saw movement, frowned, and sat forward. What was that? A wink of glass...

The killer shot her in the forehead.

Chapter

FIVE-THIRTY IN THE MORNING.

The moon was dropping down toward the horizon, the bottom edge touching the wisps of fog that rose off the early-morning water. Virgil Flowers was standing in the stern of a seventeen-foot Tuffy, a Thorne Brothers custom musky rod in his hand, looking over the side. Johnson, in the bow of the boat, did a wide figure-eight with an orange-bladed Double Cowgirl, his rod stuck in the lake up to the reel.

See her? Virgil asked, doubt in his voice.

Not anymore, Johnson said. He gave up, straightened, pulled the rod out of the water. Shoot. Too much to ask, anyway. You ain't gonna get one in the first five minutes.