Joe Victim: A Thriller

I shake my head. “I ate something bad, that’s all.”


“You going to toughen up and go through with it?” she asks, and she sounds like my mom used to sound when I was sick in the morning before school. Back then she would ask me if I was a girl or a boy or a man.

I find my balance and step into the back of the van, which answers her question. My handcuffs are connected to the eyelet by a chain that keeps me stooped over, which is fine because my stomach would be stooping me over anyway. There are no windows in the back. There’s wire mesh between the back and the front, so I can see outside and I could jam knitting needles at the driver if I had them, but nothing more. The driver is armed and looks familiar, but I can’t place him. Kent climbs in next to him. The other two heavily armed officers climb in the back with me. There’s a shovel lying across the floor. Four people for Melissa to deal with and they’ve even brought along the supplies to hide the bodies.

The van starts rolling forward. This is the furthest I’ve been from my prison cell since I pled not guilty and was held over for trial. This is the view my mother and my lawyer see every time after they’ve come to see me.

“Which way?” Kent asks.

“Right,” I tell her. “Can you open a window?”

“No.”

We have to wait for a gap in traffic, then we’re swinging out over the lanes and heading toward the city.

“Please? It’s hot back here.”

“It’s not hot,” Kent says.

“He doesn’t look so good,” Officer Nose says, and that’s the name of the guy sitting opposite me, the guy with the nose that looks like it’s been broken a few times. The guy next to him is wearing glasses and my name for him is Officer Dick.

“How far do we go?” Kent asks, winding down the window halfway.

“I don’t know,” I tell her. “I can barely see out the window.”

“How about you just give me an address?”

“There is no address,” I tell her. “That’s why we’re in this situation. We’re looking for a paddock. I can’t tell you where it is, but I can figure out the way.”

“Great,” the driver says.

“It is, isn’t it?” I ask.

We get closer toward town. We pass the big Christchurch sign that somebody has added graffiti to, but I can’t see what. We keep driving. More boring shit to the left. The same boring shit to the right. I don’t know how people do it. I don’t know why more people aren’t shooting themselves.

“Go left toward the back of the airport,” I tell them.

We slow and make the turn. I can see a plane overhead coming in to land. I’ve never been on a plane before. Never been out of the country, never even been up to the North Island, never really left Christchurch. I wonder where Melissa is planning on taking me. Australia? Europe? Mexico? I can’t wait. It must be so cool, looking down on the world, seeing people scurrying around like ants. It is how I see them, most of the time anyway. I wonder how I’ll see them from a few thousand feet in the air. Then I wonder why a cockpit is called a cockpit, who came up with the term, and what they were doing in the process.

“Keep going straight for a while,” I tell them.

We do just that. We pass open fields and landing planes and runways in the near distance lined by lights and more fields. As we drive it’s all coming back to me. The night with Calhoun. He was the detective who had killed Daniela Walker. I was the person who had figured it out. I’d have made a great cop. He had staged the scene so it would be pinned on me—the Christchurch Carver—and I wasn’t pleased about it. At the same time Melissa was blackmailing me. So I tied Calhoun up and Melissa ended up stabbing him, and I filmed the whole thing without her knowing. It all worked out great. It got me and Melissa on the same page. I don’t know how it works—she pulped my testicle with a pair of pliers, and yet I love her. Her sister was murdered by a cop, she herself was raped by a bad man, and yet she loves me. You can’t deny the chemistry.

The sky is getting a little darker. I’m not sure of the difference between twilight and dusk. Is there one? Both are approaching. I guess one arrives first, and then the other. Twilight might be when there is still some light in the sky and dusk is when there isn’t. Another hour and it won’t matter because they’ll both be gone. Perhaps that’s part of Melissa’s plan. When it’s dark she’ll start shooting. My stomach is feeling a little better, but not much.