“There isn’t time,” Adán says. “The funeral is on Sunday.”

It’s already Friday afternoon.

“I can get to a judge tonight,” Tompkins says. “Johnny Hoffman would issue an order—”

“I can’t take the chance,” Adán says. “Tell them I’ll talk.”

“What?”

“If they let me attend Gloria’s funeral,” Adán says, “I’ll give them everything they want.”

Tompkins blanches. He’s had clients snitch before for lighter sentences—in fact, it’s SOP—but the information they gave was always carefully prearranged with the cartels to minimize damage.

This is a death sentence, a suicide pact.

“Adán, don’t do this,” Tompkins begs. “We’ll win.”

“Make the deal.”

—

Fifty thousand red roses fill St. Joseph’s Cathedral in downtown San Diego just blocks from the Correctional Center.

Adán ordered them through Tompkins, who arranged the funds through clean bank accounts in La Jolla. Thousands more flowers, in bouquets and wreaths—sent by all the major narcos in Mexico—line the steps outside.

As do the DEA.

Agents walk up and down past the floral arrangements and take notes on who sent what. They’re also tracking the hundreds of thousands of dollars in Gloria’s name contributed to a foundation for research into cystic lymphangioma.

The church is filled with flowers, but not mourners.

If this were Mexico, Adán thinks, it would be overflowing, with hundreds of others waiting outside to show their respect. But most of Adán’s family is dead, and the others couldn’t cross the border without risking arrest. His sister, Elena, phoned to express her grief, her support, and her regret that a U.S. indictment prevented her from attending. Others—friends, business associates, and politicians on both sides of the border—didn’t want to be photographed by the DEA.

Adán understands.

So the mourners are mostly women—narco-wives who are American citizens already known to the DEA, but who have no reason to fear arrest. These women send their children to school in San Diego, come here to do their Christmas shopping, have spa days, or vacation at the beach resorts in La Jolla and Del Mar.

Now they stride bravely up the steps of the cathedral and stare down the agents who take their photos. Dressed elegantly and expensively in black, most walk angrily past; a few stop, strike a pose, and make sure the agents spell their names correctly.

The other mourners are Lucía’s family—her parents, her brothers and sisters, some cousins, and a few friends. Lucía looks drawn—grief-stricken, obviously—and frightened when she sees Adán.

She betrayed him to Keller to keep herself out of jail, to keep Gloria from being taken by the state, and she knew that Adán would never have done anything to harm his daughter’s mother.

But with Gloria gone, there’s nothing to stay his hand. Lucía could simply disappear one day and never be found. Now she glances anxiously at Adán and he turns his face away.

Lucía is dead to him.

Adán sits in the third row of pews, flanked by five U.S. marshals. He wears a black suit that Tompkins bought at Nordstrom’s, where Adán’s measurements are on file. His hands are cuffed in front of him, but at least they had the decency not to shackle him, so he kneels, stands, and sits as the service requires as the bishop’s words echo in the mostly empty cathedral.

The Mass ends and Adán waits as the other mourners file out. He’s not allowed to speak to anyone except the marshals and his lawyer. Lucía glances at him again as she passes by, then quickly lowers her head, and Adán makes a mental note to have Tompkins get in touch with her to tell her that she’s in no danger.

Let her live out her life, Adán thinks. As for financial support, she’s on her own. She can keep the La Jolla house, if the Treasury Department doesn’t find a way to take it from her, but that’s it. He’s not going to support a woman who betrayed him; who is, in effect, stupid enough to cut off her own lifeline.

When the church clears, the marshals walk Adán out to a waiting limousine and put him in the backseat. The car follows Lucía’s behind the hearse out to El Camino Memorial Park in Sorrento Valley.

Watching his daughter lowered into the earth, Adán lifts cuffed hands in prayer. The marshals are kind—they let him stoop down, scoop up a handful of dirt, and toss it on Gloria’s casket.

It’s all over now.

The only future is the past.

To the man who has lost his only child, all that will be is what already was.

Straightening up from his daughter’s grave, Adán says quietly to Tompkins, “Two million dollars. Cash.”

To the man who kills Art Keller.

Abiquiú, New Mexico

2004

The beekeeper watches the two men come down the gravel path toward the apiary.

One is a güero with silver hair and a slightly stiff gait that comes with age. But he moves well, a professional, experienced. The other is Latino, brown-skinned and younger—graceful, confident. They walk a few feet apart, and even from a hundred yards, the beekeeper can discern the bulges under their jackets. Stepping back to the hives, he takes the Sig Sauer from its hiding place, jacks a round into the chamber, and, using the arroyo as cover, starts moving down toward the river.

He doesn’t want to kill anyone unless he has to, and if he has to, he wants to do it as far from the monastery as possible.

Kill them at the river’s edge.

The Chama is swollen, and he can pull the bodies into the water and let the current take them away. Sliding down the muddy bank, he turns over on his stomach, peers over the edge, and watches the two men cautiously make their way toward the beehives.

He hopes that they stop there, and that they don’t damage the hives out of carelessness or spite. But if they keep coming, he’ll let them into pistol range. More out of habit than thought, his hand swings back and forth, rehearsing the first two-shot burst, and then the second.

He’ll take the younger man first.

The older one won’t have the reflexes to react in time.

But now the two men spread out, widening the angle as they approach the hives, making his four-shot pattern harder. So they’re professionals, as he would have expected, and now they pull their weapons and approach the hives with their guns pointed out in front of them, in the two-handed grip that they’re all taught.

The younger one juts his chin at the ground and the older one nods. They’ve seen his footprints that lead down to the river. But fifty yards of flat ground with only ankle-high brush for cover leading to a sheltered riverbank where a shooter could hit them at will?

They don’t want it.

Then the silver-haired man yells, “Keller! Art Keller! It’s Tim Taylor!”

Taylor was Keller’s boss back in the day in Sinaloa. “Operation Condor” in 1975, when they burned and poisoned the Sinaloan poppy fields. After that he was in charge of Mexico when Keller was shredding it up in Guadalajara, becoming a superstar. He watched as Keller’s trajectory shot right over him.

Keller thought he’d be retired from DEA by now.

He keeps the Sig trained on Taylor’s chest and tells him to holster his weapon and put his hands up.

Taylor does it and the younger man follows suit.

Keller gets up and, pistol pointed, moves toward them.

The younger man has jet-black hair, fierce black eyes, the cocky look of a street kid. The kind of agent they recruit from the barrio for undercover work. Just like they recruited me, Keller thinks.

“You went off the radar,” Taylor says to Keller. “Hard man to find.”

“What do you want?” Keller asks.

“You think you could put the gun down?” Taylor asks.

“No.”

Keller doesn’t know why Taylor is here or who sent him. Could be DEA, could be CIA, could be anybody.