Suddenly there was a thud, then a clatter that sounded like wood against steel.
"What the fuck?!"
Veil watched as Nagle rubbed his forehead, then put his hand into the light. There was blood. He cursed again, then shined the light into the darkness above him. Something that looked like a line of night flashed down through the light, and Nagle cried out in pain as he shined the light on the inside of his right bicep, where a featherless arrow hung loosely from the flesh. He pulled out the arrow and flung it away, then fired a burst of gunfire up into the darkness.
"I'm gonna get you, you black bastard!" he shouted as he started back up the scaffolding.
"Now I'm going to take him," Veil said, starting to step out from behind the girder.
"Wait!" Reyna hissed as she grabbed hold of the back of his jacket.
Veil turned and was startled by the expression on Reyna's face. Her eyes gleamed, and her lips were set in a crooked grin that had no laughter in it. She was trembling all over, but Veil did not think it was from fear. "What's the matter?"
"Nagle isn't going to find Toby," Reyna answered through bloodless lips that barely moved. "I don't want you to go up there."
"I can take care of myself, Reyna. You know that. Nagle has to be killed."
"No," Reyna said, the word punctuated by gunfire from above. Bullets ricocheted off the steel girders, whining in the night and shooting off sparks. "If Nagle kills you, then he'll have me—and I can't describe the horrible things he'll do to me. You promised he'd never hurt me."
"He can't hurt you if he's dead, Reyna. The best way for me to protect you is to kill the bastard."
"No. I'm afraid. Toby will get out of here on his own.
He'll go into the next cemetery and go to ground to rest. I want you to take me out of here, Veil."
"Reyna—"
"You promised, Veil. I'm afraid."
He studied Reyna's face for a few moments, then abruptly took her by the hand and led her back the way they had come. He paused at the edge of the building, listening. Nagle had apparently forgotten all about them, for he was now up on the third floor, cursing and flashing his light around.
Veil pushed Reyna through the opening in the fence, then followed her as she walked quickly, body stiff and hands clenched into fists at her sides, to the car. She got into the car, slamming the door shut behind her.
Veil slid in behind the wheel, turned, and studied Reyna. Her face was still clenched into a grim mask that seemed ready to break at any moment, and Veil felt certain she was on the verge of hysterical laughter.
"Reyna?"
"Mmm. I'm all right."
"The safari's going to take a break for a few hours. You say Toby will rest; we need to rest, and I have to make a couple of phone calls. I'm going to check us into a hotel."
"Mmm."
"Reyna, what's the matter?" Veil asked as he started the engine and pulled away from the curb.
"Nothing," Reyna replied curtly.
Veil was approaching the intersection when Carl Nagle suddenly walked through the opening in the fence. Veil floored the accelerator and yanked the wheel hard to the left. The car shot forward, bumped up over the curb, and shot down the sidewalk only inches from the fence. Nagle glanced around. His mouth dropped open and he half fell, half stumbled back through the opening as Veil sped over the spot where he had been standing only a moment before.
"Win some, lose some," Veil said as he braked, bucked down off the curb, and turned left at the corner.
They drove in silence for a few minutes as Veil headed toward the business section of Sunnyside. Reyna sat as rigidly as if she had been skewered with a metal rod.
"God forgive me," the woman said in a voice just above a whisper.
Veil reached over and gently stroked the back of her neck. "What was that business back there all about, Reyna?"
Reyna reached over her shoulder, found Veil's hand, and squeezed it. "I knew you could kill Nagle. I'm beginning to think that Archangel—"
"Don't call me that, Reyna—not ever. Don't even repeat the name, except to your friend. You told me you understood."
Reyna released Veil's hand, slowly leaned forward, and rested her head against the dashboard. "I'm sorry," she said quietly. "What I meant to say is that I'm beginning to believe that you can do just about anything."
"I certainly could have killed Nagle. Why did you stop me?
"You really would have killed him, wouldn't you? Even in the dark, with just your knife against that terrible gun."
Veil said nothing.
"Then we would have had Toby trapped inside the building," Reyna continued after a pause. "I could have talked to him and known for sure that he was listening. Then the sun would have risen and we'd have been able to find him. Maybe he would have finally come to us."
"Those thoughts occurred to me," Veil said dryly.
"God forgive me."
"For what, Reyna?"
"You would have killed him."
"Yes."
Now Reyna turned to face Veil. The mask finally broke as tears welled in her eyes and flowed down her cheeks. "May God forgive me, Veil. May you and Toby forgive me if anything happens to the two of you. I didn't want Carl Nagle to die so easily."
Chapter Fourteen
Veil dreams.
He assumed he would be Toby, but he unexpectedly finds himself in the mind, looking through the eyes, of a sixteen-year-old boy. He is wondering if his mother might not be right. What if Toby is the Black Messiah? And what if Toby does take a special interest in him? Usually this thought makes the boy uneasy, but at other times it makes him feel good.
Sometimes, when the boy feels depressed or confused, he tentatively tries speaking to Toby's spirit, asking for the African's help or advice. The boy has often thought about the weeks Toby spent in Central Park and the pain He must have suffered from the bullet wound in His arm.
As a result of his thoughts, the boy has found that he no longer even wants to risk hurting people; he has turned from mugging as a chief source of income to robbing stores, stealing various items and selling them to a fence who lives in his neighborhood.
However, even robbing stores has begun to bother him. The boy has been having nightmares as a result of his worry that Toby might be watching him, judging him— perhaps waiting to kill him, as He killed the two muggers, if the boy does not stop stealing altogether.
The boy's problem is that he does not know any other way to obtain the money he is used to having in his pockets. Now he is broke; he needs money and has decided that he has no choice but to get it the fastest and easiest way he knows—mugging subway riders in Manhattan.
He'd boarded the subway bound for Manhattan but had almost immediately suffered from a shortness of breath and a fluttering heartbeat. He does not want to threaten anyone with a knife; he does not want to put himself into a situation where he might have to hurt—or even kill— someone.
His mother could be right. Toby could be watching him.
He gets off the subway while still in Queens, at a stop on a street running parallel to Mount Olive Cemetery. The boy walks nervously to the north end of the cemetery, then stops when he comes to an intersection where all the streetlights have been shot out by children with air rifles. The intersection is dark, and the store on the corner closest to him is a camera shop. The boy glances quickly around him. Seeing that the street and sidewalks are empty, he walks quickly to the store.
There is an old steel gate drawn across the entrance to the shop and an adjacent display window. The boy knows it will be a simple matter for him to break the window with a rock or his elbow, reach through two broken slats in the gate, and grab two or three of the cameras on display. The fence might give him as much as twenty dollars per camera. It isn't much, the boy thinks, but at least he won't be broke.
The boy searches at the curb until he finds a piece of broken pavement. He walks back to the window, raises the chunk of cement—and stiffens. He slowly lowers h
is hand as he feels his body break into a sweat.
This is ridiculous, the boy thinks. He has done this sort of thing countless times in the past and has never been caught. Yet he's never been so nervous. What terrifies him is the thought that a Black Messiah might be around—a Black Messiah Who kills thieves.
To reassure himself that he is not being watched by anyone, much less Toby, the boy walks to the corner and again looks around. The block across the intersection is completely dark, and the boy marks that street as his escape route. To his left, halfway down the block, is a garishly lit bar, but there is no one standing outside on the sidewalk. All of the buildings on the block to his right have been razed to make room for a high rise; the steel skeleton of the building soars from behind a plywood fence into the night sky. He is alone, the boy thinks, absolutely alone.
He walks back to the camera shop, takes a deep breath, then smashes the stone through the window. A shrill alarm bell sounds, but the boy has expected that, and he does not panic. He reaches through the gate, through the broken pane of glass, grabs two Polaroids and a Nikon, then sprints across the intersection toward the night-black street beyond. He leaps up on the sidewalk, sprints twenty yards, then tries to stop with a suddenness that causes him to turn his ankle, stumble, and fall. He hurls the cameras away from him, scrambles to his feet, and stumbles backward until he bumps hard and painfully against the brick facade of the building behind him. His heart pounds wildly inside his chest, and his mouth has gone absolutely dry. He badly wants to scream, to howl his regret and sorrow at the sky, but no sound will come out of his throat. In this terror-filled moment the boy knows beyond any doubt that he is going to die.
Toby stands in the darkness no more than ten feet away from the spot where the boy cowers.
The figure is cloaked in darkness, but there is no doubt in the boy's mind that it is Toby. Toby is naked, slumped against a shop door, breathing hoarsely. Toby holds a ragged bundle in His arms, and from the cloth protrudes the head of a wooden statue.
His mother was right, the boy thinks. The Black Messiah has been watching him; Toby has seen, and now He will kill.
The boy's mouth opens and shuts a few times before he finally finds his voice. "Sheeeit!" he screams.
The sound of his own yell galvanizes the boy's muscles. Oblivious to the pain in his twisted ankle, he pushes off the brick wall and dashes out into the street, expecting at any moment to feel a spear tearing into his back, ripping through his heart and lungs.
He makes it down the street to the bar and goes crashing through the door. He runs into a table, spins around, and sprawls on the floor.
"Hey, kid—!"
"He's gonna kill me, man!" The boy sobs, squirming in pain on the floor and clawing at his twisted ankle. "He's gonna kill me!"
A big man with anchor tattoos on both hairy forearms laughs as he slides off his bar stool. He reaches down and hauls the boy to his feet by the shirt collar. "Who's gonna kill you, kid?"
The boy swallows hard, wipes tears from his eyes, and points a trembling finger in the direction of the street. "Toby," he croaks. "The Black Messiah."
The big man's eyes narrow as he shakes the boy. "You've seen the African?"
"Out there, man!" the boy says, his head bobbing up and down. "He's right down the street!"
Suddenly the bar is filled with excited shouts, the grating sounds of chairs scraping on the hardwood floor, then the ominous clanking of steel. The boy stares wide-eyed as men rush past him, over him, pushing at each other as they pour out the door. Most of the men carry weapons of some sort, and only now does the boy realize that the bar was filled with a vigilante group on the hunt for Toby. In a few moments he is alone; everyone, including the bartender, has rushed out into the street.
The boy gets to his feet and limps out of the bar in time to see a naked black figure carrying a bundle dart through a gap in the fence surrounding the half-finished building in the next block. The vigilantes have seen Him and are shouting excitedly, waving their weapons in the air, as they run through the intersection.
By the time the boy reaches the construction site, a dozen men are clustered around the gap in the fence where Toby had disappeared. There is a great deal of shouting and confusion. One man, armed with a hunting rifle, steps through the gap into the darkness beyond, but he reappears after only a minute or two.
"It's dark as shit in there," the man says. "I ain't takin' no chance on gettin' a spear stuck up my ass."
The men back up into the middle of the street. One of the men grunts as he points to an area high up on the steel skeleton. He raises his rifle to his shoulder and squeezes off a shot. Another man shouts that he has seen Toby. More shots are fired. Bullets ricochet off the forest of steel girders, and a few of the men duck and run for cover from their own bullets.
Veil rolls away from the dream, but he does not awaken, and he does not enter into deep sleep. Instead he searches for Toby until he finds him and becomes him.
Veil is Toby.
He cannot remember ever feeling so tired or sick. The Nal-toon has set him a very great trial, he thinks, one which is perhaps greater than any K'ung warrior has been asked to endure. He prays that he will have the strength to continue.
But then he reminds himself that if the trial is great, so are the Nal-toon's gifts; food, sweet water, sanctuary in the Newyorkcities' jungles of the dead, and—most wondrous treasure of all—the Nal-toon's blood-shilluk. He must have courage.
He lies in a shallow trench he dug at the bottom of a shallow basin, near a stream, in a copse of trees surrounded by brush-covered knolls. He knows that it is not good cover, but he has simply been too exhausted and sick to search for better. He has to rest.
A short time before, he took an unusually large dose of the blood-shilluk, but it does not seem to be having the usual rapid effect; his bowels churn and he is still in great pain. Indeed he has found that he must continue to take increasingly larger doses of the God-medicine in order to function at all.
He wishes he could think clearly, for the behavior of some of the Newyorkcities is increasingly confusing to him. It is difficult for him to imagine any tribe that would not be totally united in their desire to possess the Nal-toon, Who is all.
Yet . . .
There was the young Newyorkcity warrior who had surprised him in the dark street. The warrior could have attacked him but had run away.
And there was Reyna, and the man-in-night.
Veil is now considering the possibility that it had been Reyna in the last jungle of the dead, not a spirit, and that she was trying to find him in order to give him aid. Perhaps Reyna and the man-in-night have been trying to help him all along. Obviously, Veil thinks, they seem to know where he is going, yet have not told any other Newyorkcities.
He remembers vividly how the Newyorkcities running after him in the street had strengthened his muscles and cleared his mind, enabling him to run and hide in the open building.
The problem had been that the building was a trap, not sanctuary, and when the huge warrior with the hand-light and big bang-stick had entered, Veil had assumed that this was the Newyorkcities' champion, their greatest warrior, sent to duel with him in a battle of honor. In his weakened condition, Veil had known that he had no real chance against this land's most powerful warrior, but he had resolved to fight with courage and die with honor.
From the moment the warrior had entered the building, Veil had stalked him from a higher level—and it had come as a shock to Veil to see how poorly the huge man tracked in the darkness; even with his powerful hand-light, his healthy body and two good eyes, it had seemed to Veil that the man could not see or move. With growing excitement at the thought that the Nal-toon might purposely be weakening this champion, Veil had continued to stalk the man, squinting his good eye in order to focus his vision. He'd known that he would have to be very cautious, for even a good hit with a poisoned arrow would not prevent the man from using his deadly bang-stick.
Then,
to Veil's amazement, the man-in-night and Reyna had come into the building. And the Newyorkcity champion had tried to kill them. Reyna and the man-in-night who traveled with her were willing to risk their lives for him, Veil had thought.
Perhaps. If it was not a trick to put him off-guard.
Veil had stalked the warrior as the warrior stalked Reyna and the man-in-night. He had ignored Reyna's pleas for him to run, for there had been the possibility that she was trying to force him out into the open, where other Newyorkcities would be waiting for him.
On the other hand, if it was not a trick, Veil would not abandon the two people who were risking their lives for him. That was not the way of the warrior. If Reyna and the man-in-night were his allies, then he would fight to help them—and he would trust the Nal-toon to see into his heart and watch over a K'ung warrior who was doing what he thought he must.
Then the warrior had started down after Reyna and the man-in-night, and Veil had attacked—first with his throwing stick, and then with a poisoned arrow that had found its mark. Reyna and the man-in-night had escaped.
Veil had watched with some amusement as the big warrior had continued to stumble around in the dark, looking for him. Veil had not been able to understand how a man who was facing death would waste a single heartbeat pursuing another warrior he obviously could not find.
He had waited patiently until he'd been absolutely certain that all the Newyorkcities were gone before he'd left the building. By then the excitement and activity had begun to take their toll; his stomach had begun to cramp severely, his legs wobbled under him, and he could barely see.
He'd been halfway down the street before he'd realized that he was being followed. A chill had gone through him, for in the time that his senses had deserted him, his pursuer could easily have killed him, especially if the Newyorkcity had a bang-stick.
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