Rhyme held the man's eyes and said, "I don't know. She ran outside to get help. Five minutes ago."

Culbeau glanced around the room then his eyes settled on the root cellar door.

Rhyme said quickly, "Why're you doing this? What're you after?"

"Ran outside, did she? I didn't see her do that." Culbeau stepped farther into the cabin, his eyes on the root cellar door. Then he nodded behind him, toward the field. "They shouldn't've left you here alone. That was their mistake." He was studying Rhyme's body. "What happened to you?"

"I was hurt in an accident."

"You're that fellow from New York everybody was talking 'bout. You're the one figured out she was here. You really can't move?"

"No."

Culbeau gave a faint laugh of curiosity, as if he'd caught a kind of fish he'd never known existed.

Rhyme's eyes slipped to the cellar door then back to Culbeau.

The big man said, "You sure got yourself into a mess here. More than you bargained for."

Rhyme said nothing in response and finally Culbeau started forward, aiming his gun, one-handed, at the cellar door. "Mary Beth left, did she?"

"She ran out. Where are you going?" Rhyme asked.

Culbeau said, "She's down there, ain't she?" He pulled the door open fast and fired, worked the bolt, fired again. Three times more. Then he peered into the smoky darkness, reloading.

It was then that Mary Beth McConnell, brandishing her primitive club, stepped out from behind the front door, where she'd been waiting. Squinting with determination, she swung the weapon hard. It slammed into the side of Culbeau's head, ripping part of his ear. The rifle fell from his hands and down the stairs into the darkness of the cellar. But he wasn't badly hurt and lashed out with a huge fist, striking Mary Beth squarely in the chest. She gasped and dropped to the floor, the wind knocked out of her. She lay on her side, keening.

Culbeau touched his ear and examined the blood. Then he looked down at the young woman. From a scabbard on his belt he took a folding knife and opened it with a click. He gripped her brunette hair, pulled it up, exposing her white throat.

She grabbed his wrist and tried to hold it back. But his arms were huge and the dark blade moved steadily toward her skin.

"Stop," a voice from the doorway commanded. Garrett Hanlon stood just inside the cabin. He was holding a large gray rock in his hand. He walked close to Culbeau. "Leave her alone and get the fuck out of here."

Culbeau released Mary Beth's hair; her head dropped to the floor. The big man stepped back. He touched his ear again and winced. "Hey, boy, who're you to be cussing at me?"

"Go on, get out."

Culbeau laughed coldly. "Why'd you come back here? I got close to a hundred pounds of weight on you. And I got a Buck knife. All you got's that rock. Well, come on over here. Let's mix it up, get it over with."

Garrett clicked his fingernails twice. He crouched like a wrestler, walked forward slowly. His face showed eerie determination. He pretended to throw the rock several times and Culbeau dodged, backed up. Then the big man laughed, sizing up his adversary and probably concluding that the boy wasn't much of a threat. He lunged forward and swung the knife toward Garrett's narrow belly. The boy jumped back fast and the blade missed. But Garrett had misjudged the distance and hit the wall hard. He dropped to his knees, stunned.

Culbeau wiped his hand on his pants and gripped the knife again matter-of-factly, surveying Garrett with no emotion, as if he were about to dress a deer. He stepped toward the boy.

Then there was a blur of motion from the floor. Mary Beth, still lying on the floor, grabbed the club and swung it into Culbeau's ankle. He cried out as it connected and turned toward her, lifting the knife. But Garrett lunged forward and pushed the man hard on the shoulder. Culbeau was off balance and he slid on his knees down the cellar stairs. He caught himself halfway down. "You little shit," he growled.

Rhyme saw Culbeau grope in the dark cellar stairway for his rifle. "Garrett! He's going for the gun!"

The boy just walked slowly to the cellar and lifted the rock. But he didn't throw it. What was he doing? Rhyme wondered. He watched Garrett pull a wad of cloth out of a hole in the end. He looked down at Culbeau, said, "It's not a rock." And, as the first few yellow jackets flew out of the hole, he flung the nest into Culbeau's face and slammed the root cellar door shut. He hooked the clasp on the lock and stood back.

Two bullets snapped through the wood of the cellar door and disappeared through the ceiling.

But there were no more shots. Rhyme thought Culbeau would have fired more than twice.

But then he also thought the screams from the basement would last longer than they did.

Harris Tomel knew it was time to get the hell out, back to Tanner's Corner.

O'Sarian was dead – okay, no loss there – and Culbeau had gone down to the cabin to take care of the rest of them. So it was Tomel's job to find Lucy. But he didn't mind. He was still stung with shame that he'd clenched when he'd faced down Trey Williams and it had been that psycho little shit O'Sarian who'd saved his life.

Well, he wasn't going to freeze again.

Then, beside a tree some distance away, he saw a flash of tan. He looked. Yeah, there – through the crook of a tree – he could just make out Lucy Kerr's tan uniform blouse.

Holding the two-thousand-dollar shotgun, he moved a little closer. It wasn't a great shot – there wasn't much target presenting. Just part of her chest, visible through the crook of the tree. A hard shot with a rifle. But doable with the shotgun. He set the choke on the end of the muzzle so that the pellets would scatter wider and he'd have a better chance of hitting her.

He stood fast, dropped the bead sight right on the front of her blouse and squeezed the trigger.

A huge kick. Then he squinted to see if he'd hit his target.

Oh, Christ… Not again! The blouse was floating in the air – launched by the impact of the pellets. She'd hung it on the tree to lure him into giving away his position.

"Hold it right there, Harris," Lucy's voice called, behind him. "It's over with."

"That was good," he said. "You fooled me." He turned to face her, holding the Browning at waist level, hidden in the grass, the shotgun pointed in her direction. She was in a white T-shirt.

"Drop your gun," she ordered.

"I did already," he said.

He didn't move.

"Let me see your hands. In the air. Now, Harris. Last warning."

"Look, Lucy…"

The grass was four feet high. He'd drop down, fire to take out her knees. Then finish her off from close range. It'd be a risk, though. She could still get off a shot or two.

Then he noticed something: a look in her eyes. A look of uncertainty. And it seemed to him that she held her gun too threateningly.

She was bluffing.

"You're out of ammo," Tomel said, smiling.

There was a pause and the expression on her face confirmed it. He lifted the shotgun with both hands and aimed it at her. She gazed back hopelessly.

"But I'm not," came a voice nearby. The redhead! He looked her over, and his instinct told him: She's a woman. She'll hesitate. I can get her first. He swung toward her.

The pistol in her hands bucked and the last thing Tomel felt was an itchy tap on the side of his head.

Lucy Kerr saw Mary Beth stagger onto the porch and call out that Culbeau was dead and that Rhyme and Garrett were all right.

Amelia Sachs nodded then walked toward Sean O'Sarian's body. Lucy turned her own attention to Harris Tomel's. She bent down and closed her shaking hands around the Browning shotgun. She thought that while she should be horrified to be prying this elegant weapon from a dead man's hands, in fact all she thought about was the gun itself. She wondered if it was still loaded.