The Border. Don winslow

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СКАЧАТЬ only two ways out along a narrow path. A middle-aged couple run to the east exit, toward the shooter, and are hit right away, dropping like characters in some hideous video game.

      “Mari,” Keller says, “we have to move. Do you understand?”

      “Yes.”

      “Be ready.”

      He waits until there’s a pause in the fire—the shooter changing clips—then gets up, grabs Mari and hefts her over his shoulder. He carries her along the Wall to the west exit, where the Wall slopes down to waist level, tosses her up and over and sets her down behind a tree.

      “Stay down!” he yells. “Stay there!”

      “Where are you going?!”

      The shooting starts again.

      Jumping back over the Wall, Keller starts to herd people toward the southwest exit. He puts one hand on the back of a woman’s neck, pushes her head down and moves her along, yelling, “This way! This way!” But then he hears the sharp hiss of a bullet and the solid thunk as it hits her. She staggers and drops to her knees, clutching at her arm as blood pours through her fingers.

      Keller tries to lift her.

      A round whizzes past his face.

      A young man runs up to him and reaches for the woman. “I’m a paramedic!” Keller hands her across, turns back and keeps shoving people ahead of him, away from the gunfire. He sees the boy again, still clutching his mother’s hand, his eyes wide with fear as his mother pushes him ahead of her, trying to screen him with her body.

      Keller wraps an arm around her shoulder and bends her down as he keeps her moving. He says, “I’ve got you. I’ve got you. Keep walking.” He sees her to safety at the far end of the Wall and then goes back again.

      Another pause in the firing as the shooter changes clips again.

      Christ, Keller thinks, how many can he have?

      At least one more, because the firing starts again.

      People stumble and fall.

      Sirens shriek and howl; helicopter rotors throb in deep, vibrating bass.

      Keller grabs a man to pull him forward but a bullet hits the man high in the back and he falls at Keller’s feet.

      Most people have made it out the west exit, others lie sprawled along the walkway, and still others lie on the grass where they tried to run the wrong way.

      A dropped water bottle gurgles out on the walkway.

      A cell phone, its glass cracked, rings on the ground next to a souvenir—a small, cheap bust of Lincoln—its face splattered with blood.

      Keller looks east and sees a National Park Service policeman, his pistol drawn, charge toward the restroom building and then go down as bullets stitch across his chest.

      Dropping to the ground, Keller snake-crawls toward the cop and feels for a pulse in his neck. The man is dead. Keller flattens behind the body as rounds smack into it. He looks up and thinks he spots the shooter, crouched behind the restroom building as he loads another clip.

      Art Keller has spent most of his life fighting a war on the other side of the border, and now he’s home.

      The war has come with him.

      Keller takes the policeman’s sidearm—a 9 mm Glock—and moves through the trees toward the shooter.

      

       Memorial

       Only the dead have seen the end of war.

      —Plato

       1

       Monsters and Ghosts

       Monsters are real, and ghosts are real, too. They live inside us, and sometimes, they win.

      —Stephen King

       November 1, 2012

      Art Keller walks out of the Guatemalan jungle like a refugee.

      He left a scene of slaughter behind him. In the little village of Dos Erres, bodies lie in heaps, some half burned in the smoldering remnants of the bonfire into which they’d been tossed, others in the village clearing where they’d been gunned down.

      Most of the dead are narcos, gunmen from rival cartels that came here allegedly to make peace. They had negotiated a treaty, but at the debauched party to celebrate their reconciliation, the Zetas pulled out guns, knives and machetes and set to butchering the Sinaloans.

      Keller had literally fallen onto the scene—the helicopter he’d been in was hit by a rocket and spun to a hard landing in the middle of the firefight. He was hardly an innocent, having planned with the Sinaloa boss, Adán Barrera, to come in with a team of mercenaries and eliminate the Zetas.

      Barrera had set up his enemies.

      The problem was, they set him up first.

      But the two main targets of Keller’s mission, the Zeta leaders, are dead—one decapitated, the other turned into a flaming torch. Then, as they’d agreed in their uneasy, evil truce, Keller had gone off into the jungle to find Barrera and bring him out.

      It seemed to Keller that he’d spent his whole adult life going after Adán Barrera.

      After twenty years of trying, he’d finally put Barrera in a US prison, only to see him transferred back to a Mexican maximum-security facility from which he promptly “escaped” and then made himself more powerful than ever, the godfather of the Sinaloa cartel.

      So Keller went back down to Mexico to go after Barrera again, only to become, after eight years, his ally, joining with him to bring down the Zetas.

      The greater of two evils.

      Which they did.

      But Barrera disappeared.

      So now Keller walks.

      A handful of pesos to the border guard gets him into Mexico and then he hikes the ten miles to the Campeche village from which the raid had been staged.

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