by as if on wires. Their claws slash; their bald red heads dart in for a bite.
Four of them dive the gallows. Their wings are as wide as a man is tall, and so black that the sunlit air seems striped by midnight. The deputies do not have time to reach for their machetes. They barely have time to hold up their hands. One of the men reels back and falls from the ten-foot platform. The ground meets his back with a meaty thud that knocks the air from his lungs and leaves him momentarily paralyzed, too stunned to lift his arms and ward off the vulture that swoops onto his chest.
The other deputy—with a vulture pinned to his shoulder, his face cowled by its wings—falls onto the lever that opens the trapdoor. By this time, York has ducked beneath the platform, out of the sun, into shadow, away from the birds that sweep and dagger the air. So when the trapdoor swings open, when a square of light appears above him, when a body tumbles through it, when the noose catches and snaps, he throws out his arms and snatches her from the air.
They don’t have time to pause, but for a moment his body stiffens, arrested by the sight of her in his arms. Her expression is flat and her eyes give him nothing back, not hate or gratitude or fear, so he feels compelled to say something. “Hi.” And then, “I’m here to help.”
Something softens in her face and he feels relieved, as if from the pressure of a knife. She might fit easily into his arms, but she could hurt him if she wanted to. Impossible as it may seem, she is responsible for the vultures. He doesn’t know how he knows this, but he does, and he accepts it with the awe of a child who watches a magician spit fire and spring bouquets from ears.
The crowd is still screaming and the vultures are still plunging when he puts her down and she slips the noose off her neck and grabs his hand and runs for the south tunnel. He finds himself hurrying after her, even though he is the one who should be yelling, Follow me!
Chapter 6
M OST OF THE sentinels live in a stucco building with shuttered windows next to the stables. There is a kitchen and latrine and common room on the ground floor, apartments on the upper three levels. Clark keys open her door and can barely shove her way inside, the floor so cluttered with rank piles of clothes and the named and unnamed objects she has salvaged from the Dead Lands. A broken blue mug. A golf club. A faded red can of Coca-Cola. A typewriter with rows of gleaming yellow teeth. A snow globe with a white-bearded, red-suited Santa inside it.
As soon as she closes the door behind her, she begins to strip, tearing off the deputy’s uniform and stuffing it beneath her bed. On the wall hangs a cracked mirror, mossy and veined with age, and she studies her reflection in it, her body pale, her face and hands rough and sunburned.
Then she picks up some clothes from the floor and smells them before pulling them on.
Her brother is safe, the girl is safe—for now. Deputies will gather. They will march the streets and knock on doors and overturn closets and pantries and basements and attics, and they will make black X s on a map for the places they have already visited. Not only will the mayor appear a fool for losing the girl; he will appear a cruel god for upending every drawer in the Sanctuary in pursuit of her. Clark will be questioned once—within the next hour or so, she guesses—and Reed will vouch for her and her loyal service as a sentinel. A few days later, when the deputies seek her out again, she won’t be around for them to find.
Her mind vibrates; her guts feel feathery. She makes her hands into fists and presses them to her eyes. She could use a drink. Terribly. A few weeks ago, she promised Reed she would stop. Just like that. Like a door had closed, bolted. She relapsed once, the other day, after the death parade. She does get quivery when she passes a bar, when she sees people drinking or smells liquor on their breath, but the real
Four of them dive the gallows. Their wings are as wide as a man is tall, and so black that the sunlit air seems striped by midnight. The deputies do not have time to reach for their machetes. They barely have time to hold up their hands. One of the men reels back and falls from the ten-foot platform. The ground meets his back with a meaty thud that knocks the air from his lungs and leaves him momentarily paralyzed, too stunned to lift his arms and ward off the vulture that swoops onto his chest.
The other deputy—with a vulture pinned to his shoulder, his face cowled by its wings—falls onto the lever that opens the trapdoor. By this time, York has ducked beneath the platform, out of the sun, into shadow, away from the birds that sweep and dagger the air. So when the trapdoor swings open, when a square of light appears above him, when a body tumbles through it, when the noose catches and snaps, he throws out his arms and snatches her from the air.
They don’t have time to pause, but for a moment his body stiffens, arrested by the sight of her in his arms. Her expression is flat and her eyes give him nothing back, not hate or gratitude or fear, so he feels compelled to say something. “Hi.” And then, “I’m here to help.”
Something softens in her face and he feels relieved, as if from the pressure of a knife. She might fit easily into his arms, but she could hurt him if she wanted to. Impossible as it may seem, she is responsible for the vultures. He doesn’t know how he knows this, but he does, and he accepts it with the awe of a child who watches a magician spit fire and spring bouquets from ears.
The crowd is still screaming and the vultures are still plunging when he puts her down and she slips the noose off her neck and grabs his hand and runs for the south tunnel. He finds himself hurrying after her, even though he is the one who should be yelling, Follow me!
Chapter 6
M OST OF THE sentinels live in a stucco building with shuttered windows next to the stables. There is a kitchen and latrine and common room on the ground floor, apartments on the upper three levels. Clark keys open her door and can barely shove her way inside, the floor so cluttered with rank piles of clothes and the named and unnamed objects she has salvaged from the Dead Lands. A broken blue mug. A golf club. A faded red can of Coca-Cola. A typewriter with rows of gleaming yellow teeth. A snow globe with a white-bearded, red-suited Santa inside it.
As soon as she closes the door behind her, she begins to strip, tearing off the deputy’s uniform and stuffing it beneath her bed. On the wall hangs a cracked mirror, mossy and veined with age, and she studies her reflection in it, her body pale, her face and hands rough and sunburned.
Then she picks up some clothes from the floor and smells them before pulling them on.
Her brother is safe, the girl is safe—for now. Deputies will gather. They will march the streets and knock on doors and overturn closets and pantries and basements and attics, and they will make black X s on a map for the places they have already visited. Not only will the mayor appear a fool for losing the girl; he will appear a cruel god for upending every drawer in the Sanctuary in pursuit of her. Clark will be questioned once—within the next hour or so, she guesses—and Reed will vouch for her and her loyal service as a sentinel. A few days later, when the deputies seek her out again, she won’t be around for them to find.
Her mind vibrates; her guts feel feathery. She makes her hands into fists and presses them to her eyes. She could use a drink. Terribly. A few weeks ago, she promised Reed she would stop. Just like that. Like a door had closed, bolted. She relapsed once, the other day, after the death parade. She does get quivery when she passes a bar, when she sees people drinking or smells liquor on their breath, but the real
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