By the time I get to my bike, my improvised tourniquet is a dark bloody rag, and as soon as I peel it off the blood bursts forth. I fumble on the black pneumatic tourniquet from my first aid kit, cinch the cuff high on my arm, upstream of the wound, and inflate it as fast as I can, closing my eyes tightly as I squeeze and squeeze the bulb.

I pause, then. I am not dizzy yet, not yet experiencing severe pain. I can think now, for a moment I can think. From here I can see the road, the elbow bend in Route 3, and I can look up at the towering trees crowding in on the parking lot from all sides.

What hospital, Hank? I ask myself, dragging the question out of my consciousness and into the light-not meaning, which hospital will you choose? but rather, what operational hospital might be within biking distance of a fatigued man who has already suffered significant loss of blood? As much as a liter, maybe, half a liter easily. Portsmouth is the closest city, and I don't even know if they have a functioning hospital anymore or if it's all private duty. What about Durham? There must be a medical tent somewhere on the grounds of the Free Republic of New Hampshire, as there is a grub tent; somewhere in one of those basements some premed is boiling clamps and hypodermic needles in a lobster pot.

Will it be easier, I wonder, without the wagon? And I'm looking down at it, debating how risky or wise it might be to jettison the water and food and gauze and antiseptic to gain maybe three or four m.p.h. of travel speed. I'm crouching to look through how much water I have left anyway, and wishing it were more.

There. Now. Pain. There it is.

"Jesus." I say the word, and then I scream it: "Jesus!" and throw my head back and scream again, louder. It hurts-it does-it hurts so much, a hot iron pressed against my biceps. I clutch the wounded arm with the other one and immediately let go and scream more.

I sink down, into a crouch, and close my eyes, and rock on my heels, and take a series of short and shallow breaths. "My God, my God."

The pain is circling out from the impact site and burning into my shoulder, my chest, my neck, all the circuits of my upper body. More deep breaths, still down in my crouch, in the parking lot by the roadway. After several long moments the pain recedes, and I open my eyes and see on the ground with hallucinogenic clarity a single bright-orange leaf.

But it's not-it's not a leaf. I stare at it. It's a fake leaf. I pick it up with my left hand. It's made of fabric-a synthetic fabric-a synthetic leaf.

The thought appears in my mind not word by word, but wholly formed, like someone else had the thought and placed it there: This does not make sense.

Because I know what this is, this artificial leaf. It's a piece from a ghillie suit, the full-body camouflage worn by professional snipers and police shooters, a costume of shrubbery worn so that they can wait unseen for long periods, buried in the scenery. I know what a ghillie suit is, not from my police training but from my grandfather, who took me hunting exactly three times, trying to cure me of my total disinterest in that pursuit. I remember he pointed out a fellow sportsman, crouched in a blind in a suit of leaves, and scorned the man: "Those are for hunting men, not rabbits." I remember his caustic expression, and I remember the term, ghillie suit; it seemed such a comical name for something designed for the purpose of killing human beings.

The pain returns like an inrushing tide and I gasp, sink down farther into the gravel of the parking lot, still clutching the strange alien leaf. This does not make sense.

When the pain is gone-not gone, but dampened-I look past the stone wall, up onto the rise, try to pick out the spot where the shooter waited on the woody ridge between the road and the fort. I trace the bullet's line in my mind, a bright red ribbon leaping from the gun muzzle and across the field. I eyeball it. I estimate. Three hundred yards. It was a sniper shot, no question about it, three hundred yards easy, through the barrier of my outstretched arm and right between Brett's eyes. What I just witnessed was Brett's assassination by a military sniper from the Coast Guard or the Navy. A professional killer who tracked him here and waited in his ghillie suit and fired from the woods between the road and the fort. A preemptive strike against his madman's crusade.

So what is it? Why doesn't it make sense?

I know the answer while I'm still formulating the question: because Brett said no. No one knew about it. He had told no one where he was. Just Julia, and Julia had told me.

How could the military have sent a sniper to take him out, before he carried out his raids, when no one knew that they were coming?

New pain. Worse. The worst. I throw my head back and howl. Nausea is rolling up in churning waves from my stomach and into my throat. The pain leaps out from the wound site in bursts. Spots buzz to life in front of my eyes and I hunch back over, count slowly to ten, dizziness seeping in around the back corners of my brain. Brett told me that nobody else knew. Brett had no reason to lie.

But what about the friend, from the troopers, the Coast Guard man who provided the blueprints? Did he suspect the full scope of what Brett was up to? Did he sound the alarm? Track him down?

There's something else, something-I take a breath, try to remember-something in the blockhouse that didn't belong there. The pain makes it hard to think. It makes it hard to move-to be, even. I sit down in the gravel of the parking lot, lean against the wall, try not to look at my arm.

A color.

A flash of pink from inside that trunk.

I get up and stumble back down to the gravel, where the killer disappeared onto the highway, on his own ten-speed.

Or hers, I remind myself, thinking of Julia Stone, thinking of Martha Cavatone-my mind suddenly racing, evaluating motives, performing a quick roll call of everyone I've met on my circuitous route to Fort Riley, thinking about all the guns I've seen: Julia's M140s, Rocky's paintball guns and target range, my little Ruger. Jeremy Canliss had a snub-nose pistol tucked up in his jacket when I met him outside the pizza place. No, no, he didn't. I imagined that. Didn't I?

It doesn't matter. This is America in countdown time. Everybody has a gun.

"A hospital." I find the words in my throat and pronounce them gravely, lecturing myself, stern. "Forget the guns. Forget about Brett. Get to a hospital."

I look out at Route 103, where the asphalt is melting in the sun, letting off a blackish gummy steam. I'm swaying on my feet. The green pages of the stapled EMT booklet flutter in the wind before me, the all-caps text informing me that my dizziness will escalate from mild to extreme. In four hours the pain will begin to ease, as my soft tissue runs out of blood and the arm begins to die.

I'm staring vacantly at the bike and I realize that my decision has been made. It's already too late. The idea of hopping on a bicycle right now and getting myself to a hospital, to any hospital, is ridiculous. It's insane. It was already too late half an hour ago. I can't ride a bike. I can barely walk. I laugh, say the words aloud: "Henry, you can't ride a bike."

I look back over my shoulder. Brett's corpse is still lying out there, facing up toward the sun. The missing-person case must be declared unsuccessful. I know why he left, yes, and even where he went, but he's dead and I couldn't protect him from dying.

I do, however, have some thoughts about who might have shot him, a few stray and feverish ideas on the subject.

It takes forty-five miserable and crawling minutes to retrace my steps-all the way down the length of the parking lot-through the stone archway back into the fort proper-across the spongy terrain to the foot of the blockhouse. The pain only gets worse now, never better, intensifying as it gains in territory, colonizing the farthest reaches of my body. By the time I reach the wavering shadow of the blockhouse I'm breathing unevenly, bent over, deteriorating in speeded-up motion like a man dying of old age in a cartoon. I collapse and land on my wounded right arm and shriek like a child from the electric pain and roll onto my back under the dangling rope ladder and the sheer wooden side of the building.

I stare up at that ladder. The thick hempen rungs I recently clambered down, just behind Brett, seemed like child's play an hour ago, like one of the playground structures we used to tear around on in White Park. Now it's a rock wall, a mountain's face that I am somehow supposed to drag myself up, exhausted and one-handed.

I stand, slowly, look upward and squint. The sun is burning the top of my head.

"One," I say, and take a deep breath and grunt and haul my entire weight with my one good arm, lift myself just enough to get my footing on the second rung of the ladder.

Then I wait there, gasping, barely three feet off ground level, with my head tilted up and my eyes closed, sweat pouring off of my scalp and pooling in my collar line. I wait for strength-for-I don't know-a few minutes? Five minutes?

And then I say: "Two."

Breathe-steady-grunt-heave. And then three-and then four-again and again, finding my footing on each new rung, humping myself laboriously upward and then exhaling-and waiting-panting-the sun baking me against the wall-sweat running down my spinal column and my arms, gathering in my waistband and swamping my armpits.

Halfway up the ladder, at rung number ten, I conclude that this is, in fact, impossible. I won't get any farther. This is as good a place as any to die.

I am too tired and too hot and too thirsty-increasingly it is my thirst that is the main problem, superseding the exhaustion and the dizziness and even the nascent feverishness-superseding even the pain, heretofore the great champion among my tormentors. I have forgotten, at this point, just what I am hoping to find up there in the blockhouse, what if anything.

Doesn't matter. I am too tired and too impaired and too thirsty to keep going. I will die here, plastered with sweat and crusted blood against this two-centuries-old wooden building, burned into the side by the afternoon sun. Here Maia will find the empty shell of my body and carry it away to sea.

The dog barks at the foot of the building. I can't see him, of course. But I hear him. He barks a second time, loud and sharp.

"Hey," I say, the word drifting feebly off in the air like a dead leaf. I clear my throat, lick my lips, and try it again. "Hey, boy."

Houdini keeps barking, probably because he's hungry or scared or maybe just happy to see me, even my long spindly bottom half. He's probably been lost in the woods, chasing squirrels or being chased for the last two hours. But in my dizziness and fatigue I imagine his frantic yips as encouragement: He is insisting that I continue up, that I assault the next rung and the next.

My little dog has reappeared at the crucial moment to insist in his rough canine language that salvation waits at the top of the ladder. I keep going. Up I go.

When at last I'm on the floor of the blockhouse I just lie there for a while, coughing. My throat is shutting down, collapsing in on itself like a dusty mineshaft. I roll over when I can and crawl to the trunk under the cannon and manage to open it and find a two-gallon jug and heave the heavy thing to my lips and drink like the lost man in the desert, letting water spill out and soak my face and my chest. I come up for breath like a surfacing dolphin and then drink more.

I let the empty plastic jug drop from my hands, and it bounces with a hollow sound on the wooden beams of the blockhouse floor.

Then I go back to the trunk, and a minute later I've found it. The pink paper, buried-not even buried-half hidden at best, beneath a change of clothes and a flashlight, a single sheet of pink notebook paper, worried and blackened at the edges where Brett's fingers, stained with dirt and gunpowder, have picked at its corners. Folded and grimy but still bearing the faint smell of cinnamon.

I laugh out loud, a nasty dry rasp. I take the page from Martha's diary and wave it in the air, pump it crumpled in the fist of my working hand. The page is torn and jagged at one edge, ripped out as if with force. I look up at the roof of Brett's cloister and press the paper to my chest and grin, feeling the grime on my face crack and fall away. I read it and reread it, and its meaning starts to well up around me, and then I'm getting dizzy and cold, so I press the torn-out scrap of notebook paper to my chest and lean back against the old wooden wall and shut my eyes.

He's barking, down there. Houdini is shouting, beautiful and faithful creature, hollering to keep me awake, or maybe at some interesting clouds, or maybe he's just giving his little voice box a workout, as dogs are famous for doing.

I should-I open my eyes, stare at the opposite wall, struggle to form the thought-I should check on him. I roll from sitting down onto my belly and crawl back to the doorway. The arm is starting not to hurt, which though a relief is nevertheless a very bad sign. I peer over the edge, and there he is, barking, purposeful, sending his voice up along the side of the building to where I can hear him, way up here.

"Good boy," I whisper, smiling down at him.

The sun is lower now and not as bright and I can see clearly where, down at the base of the blockhouse, my dog has built a little pyramid of dead birds. And I am not sure whether this is supposed to be a kind of sacrifice in my honor, or a tribute, or some sort of bizarre enticement: Here, master, here! If you survive this situation, you can eat these birds.

"Good boy," I say again. "Good dog."

It is some time later. If I check my watch I will know what time it is, see how many hours have elapsed with most of my arm cut off from my circulating bloodstream like it's downriver from a dam, and discover thereby how close I am either to dying or to losing my right arm forever.

There is an ache up and down the length of my body. In olden days they would strap you, hands and feet, to a machine, turn a wheel to make you talk. Or even not to, just to watch you experience it. Or because there was someone visiting the court who had never gotten a chance to see the machine in action. Another one of those things that makes you think, well, okay, the end of the human race, what are you gonna do?

I read it again, the pink page, Martha's slightly slanted all-block-letter handwriting, just like the quote from St. Catherine above her sink. But different in tone, so different: HE'S DEAD N. IS DEAD HE'S REALLY DEAD I'LL NEVER SEE HIS FACE AGAIN OR KISS HIM AGAIN WHEN I CLOSE MY EYES THERE HE IS THE GOLD-CAPPED SMILE THE HAND-ROLLED SMOKES THE SILLY TATTOOS.

BUT THEN I OPEN THEM AND HE'S GONE AGAIN OK SO LET THE WORLD DIE NOW IT'S DEAD ALREADY WITHOUT HIM BUT It ends like that, in the middle of a thought, to be continued on the next page. There's a date at the top, July fifth, just a couple weeks ago.

He's dead, she wrote, N.'s dead he's really dead.

Who, Martha? Who is N.?

I still don't check my watch, but I can feel it getting later. The day is wearing itself down, the sunbeams appearing and disappearing in the slitted windows. I wish I could send out my thoughts like medieval telegraph crows to gather clues and bring them back to me, up here in my doomed chamber.

Who was N., Martha? With gold teeth and hand-rolled cigarettes and funny tattoos?

How many guns are left in that storehouse by the power station, Julia Stone? Would you run and check for me? Do you even need to look, or is it you who's spirited one away?

Officer Nils Ryan-Brett's buddy from the trooper days-Nils starts with N. But there's another one, another N., and I can't remember it. The world spins. This case was like a straight line, simple and clean: A man is missing. Find the man. And now it's like the wilderness is crowding in along the road, turning the world into a thicket, a maze, a tangle.

I squeeze up and down along the edges of my arm and feel nothing and meanwhile my breath is ragged and uneven. At a certain point I will cross a threshold where it won't matter either way; "loss of limb and/or death," the double-conjunction pivot point resolving decisively on "and."

The kids are going to be okay. Alyssa and Micah Rose at Quincy Elementary. I gave that over to Culverson, and Detective Culverson will stay on top of it. I smile at the thought of Culverson-at the Somerset right now, dining alone, asking Ruth-Ann politely what he owes her.

The sun is losing its luster. It's late afternoon. Next will be nighttime.

The only thing is that it's too bad about Nico. Because I did, I promised her I would protect her until one or both of us were dead. She was drunk and I was fifteen, but I promised her and I meant what I said. I tell her I'm sorry, in my mind somewhere. If there is anyone that I can send a telepathic message to, it's my sister, and I let my mind go blank and launch it into the air, Nico, my dear, I am sorry.

I open my eyes and see my watch without meaning to. It's 5:13. Approximately six and a half hours since impact, since the bullet tore the hole into my biceps.

I haven't heard from Houdini in a long time. Perhaps he decided to abrogate our contract, escaped into the woods, evolved into a sea dog or a wolf. Good for him. I reach up to my face as if to make sure it's still there. It's dirty. Cragged. Lined in a way I don't remember. The edges of my mustache are growing in weird, all fuzzy and uneven like a disintegrating coastline. I hate that.

I read Martha's journal page again. HE'S DEAD N. IS DEAD HE'S REALLY DEAD.

When the shooting begins it begins all at once, not one or two but a hundred guns firing all at the same time, and of course I can't move, can't go down there to the water's edge; all I can do is look from the narrow windows of the blockhouse and watch the horror unfold.

At some point during this long hot strenuous expanse of a day, one of those tiny dots I saw out on the horizon this morning has made its way into the harbor and dropped anchor out by the lighthouse; a cargo ship with long iron sides, anchored and massive, maybe half a mile offshore, with dozens of tiny crafts bobbling at its sides like suckling children. Six or seven of these little boats have been let down and are on their way in, maneuvering for shore, crowded with passengers, their small motors puttering. And now-as I'm watching-those boats are coming under withering fire.

"No," I whisper.

But it's just as Brett said, it's a Coast Guard cutter, the sleek lines and the iron prow, the bristling masts and antennae, the noble shape of it parked in the water perpendicular to shore, offering not a lifeline to the incoming boats but a cannonade.

The small boats perform useless evasive maneuvers, rowboats and rafts wheeling unevenly this way and that while the cutter strafes the water, kicking up mountains of churning foam.

Seabirds dart overhead, flying fast, away from the pop of the guns.

"No," I say, way the hell up here from my tower window, uselessly, ridiculously. "No."

The rafts begin to capsize, tipping their inhabitants into the water, where they paddle and scream and grab for one another-children, old women, young men-and me just watching, helpless, trapped inside the blockhouse, inside my injury, coughing and lightheaded, watching them drown, watching them swim, watching the cutter send out speedboats to gather up those who remain.

"Stop," I whisper, my eyes rolling up into my head. "Police."

Children clutching at one another, little bodies boiling up in the breakers, lashed by the wake of the ships, opening their mouths to scream even as they are pulled under by the waves.

In the silence when it's over I slip into sleep, and in my fever dream Brett is alive and squats beside me with his M140 pointed out the slit window of the blockhouse. He does not say "I told you so." That is not his style. What he does say though is, "It was abrogated. Our contract was abrogated." I want to warn him that the barrel of his rifle is poking back into the blockhouse at the next window over, a cartoon image, like it loops around out there and comes back in, pointing right at his own face.

Don't do it, I say, don't shoot. But my mouth moves and the words don't come and he fires and an instant later topples over backward, somersaults and rolls till he's still.

In the next dream, the next scene, he's got a skeet gun and we're up on the roof, me and him, and this time he smiles and when he smiles his mouth glows and he leans back and shoots up, up, up and the asteroid tumbles out of the sky, and Houdini goes and retrieves it, a burning planet of rock and metal clutched in his teeth like a fetched duck.

I wake up, because of a distant unfamiliar noise, and the first thing I think is that he wanted to leave.

He was not unfaithful to her; she was to him.

Oh, Martha- She had taken a lover, the man she identified as N., and then that lover was killed in the riots on Independence Day.

And Brett had not left Martha, but he had been yearning in his heart to leave. He had information, he had a plan, he knew the good he wanted to do in the world. He even knew where he could go to get the guns that he needed to do it. But he could not and would not go, because he had made promises before his wife and before God and he would not release himself from those promises.

There's a thrumming out there. What is the noise? The ship must be back, or a new one is coming, a fresh engagement threatening on the horizon line. The image of the dead and dying from the boats returns, as clear and detailed as a photograph. I try to lift my head but cannot. I stay inside the hole I'm in, close my eyes to what I've seen and instead return to considering my case, piecing it together.

When Brett found his wife's diary page he reacted not with anger but with fierce and secret joy. He tore out that page and took it like a ticket, because this was permission to go and do what he wanted to. He made arrangements with the thief Cortez and off he went; by the grace of God his wife had been unfaithful, their contract had been abrogated, and he felt himself released and he left. He ripped out that page and held it to his heart and ran off to his seaside tower and his righteous crusade.

The thrumming is getting louder. I raise my arm and it lifts slow, dense, like it's made of bundled sticks. Please don't be another ship. Please. I don't want to witness any more.

It's a beating of wings, out there. Close by, much closer than the water. A motor.

I have to move then, I have to drag myself, and I do. I use my legs but not to walk, to launch myself forward like a worm across the small room and into the doorway and stick out my head and there it is-there she is-the great green-sided helicopter hovering in the sky above the blockhouse, rotors beating, the noise a great thundering rush.

I raise my working hand in the threshold of the blockhouse and wave it, feebly, and I'm trying to scream but there is no noise escaping my throat. It's not necessary, though, because she's already seen me. Nico leaning from the doorway of the helicopter, clutching the frame, laughing, shouting: "Hank! Hank!"