Wendell feels an unwelcome trickle of self-doubt, but he is not about to assume that Beezer and his louts have a sudden yearning for tractor hitches and riding lawn mowers. He speeds up, wondering if they have spotted him and are trying to throw him off their trail. As far as he knows, there is nothing up on that rise except the showroom, the maintenance garage, and the parking lot. Damn place looks like a wasteland. Beyond the parking lot . . . what? On one side, he remembers a scrubby field stretching away to the horizon, on the other a bunch of trees, like a forest, only not as thick. He can see the trees from where he is now, running downhill like a windbreak.
Without bothering to signal, he speeds across the oncoming lanes and into Goltz’s driveway. The sound of the motorcycles is still audible but growing softer, and Wendell experiences a jolt of fear that they have somehow tricked him and are getting away, jeering at him! At the top of the rise, he zooms around the front of the showroom and drives into the big lot. Two huge yellow tractors stand in front of the equipment garage, but his is the only car in sight. At the far end of the empty lot, a low concrete wall rises to bumper height between the asphalt and the meadow bordered by trees. On the other side of the tree line, the wall ends at the swoop of asphalt drive coming around from the back of the showroom.
Wendell cranks the wheel and speeds toward the far end of the wall. He can still hear the motorcycles, but they sound like a distant swarm of bees. They must be about a half mile away, Wendell thinks, and jumps out of the Toyota. He jams the cassette recorder in a jacket pocket, slings the Nikon on its strap around his neck, and runs around the low wall and into the meadow. Even before he reaches the tree line, he can see the remains of an old macadam road, broken and overgrown, cutting downhill between the trees.
Wendell imagines, overestimating, that Ed’s old place is about a mile distant, and he wonders if his car could go the distance on this rough, uneven surface. In some places, the macadam has fissured into tectonic plates; in others, it has crumbled away to black gravel. Sinkholes and weedy rills radiate out from the thick, snaking roots of the trees. A biker could jounce over this mess reasonably well, but Wendell sees that his legs will manage the journey better than his Toyota, so he sets off down the old track through the trees. From what he took in while he was on the highway, he still has plenty of time before the medical examiner and the evidence wagon show up. Even with the help of the famous Hollywood Sawyer, the local cops are mooning around in a daze.
The sound of motorcycles grows louder as Wendell picks his way along, as if the boys stopped moving in order to talk things over when they came to the far end of the old back road. That’s perfect. Wendell hopes they will keep jawing until he has nearly caught up with them; he hopes they are shouting at one another and waving their fists in the air. He wants to see them cranked to the gills on rage and adrenaline, plus God knows what else those savages might have in their saddlebags. Wendell would love to get a photograph of Beezer St. Pierre knocking out Dale Gilbertson’s front teeth with a well-aimed right, or putting the choke hold on his buddy Sawyer. The photograph Wendell wants most, however, and for the sake of which he is prepared to bribe every cop, county functionary, state official, or innocent bystander capable of holding out his hand, is a good, clean, dramatic picture of Irma Freneau’s naked corpse. Preferably one that leaves no doubt about the Fisherman’s depredations, whatever they were. Two would be ideal—one of her face for poignancy, the other a full-body shot for the perverts—but he will settle for the body shot if he has to. An image like that would go around the world, generating millions as it went. The National Enquirer alone would fork over, what—two hundred thousand, three?—for a photo of poor little Irma sprawled out in death, mutilations clearly visible. Talk about your gold mines, talk about your Big Kahunas!
When Wendell has covered about a tenth of a mile of the miserable old road, his concentration divided between gloating over all the money little Irma is going to siphon into his pockets and his fears of falling down and twisting his ankle, the uproar caused by the Thunder Five’s Harleys abruptly ceases. The resulting silence seems immense, then immediately fills with other, quieter sounds. Wendell can hear his breath struggling in and out, and also some other noise, a combined rattle and thud, from behind him. He whirls around and beholds, far up the ruined road, an ancient pickup lurching toward him.
It’s almost funny, the way the truck rocks from side to side as one tire, then another, sinks into an invisible depression or rolls up a tilting section of road surface. That is, it would be funny if these people were not horning in on his private access route to Irma Freneau’s body. Whenever the pickup climbs over a particularly muscular-looking length of tree root, the four dark heads in the cab bob like marionettes. Wendell takes a step forward, intending to send these yokels back where they came from. The truck’s suspension scrapes against a flat rock, and sparks leap from the undercarriage. That thing must be thirty years old, at least, Wendell thinks—it’s one of the few vehicles on the road that looks even worse than his car. When the truck jolts closer to him, he sees that it is an International Harvester. Weeds and twigs decorate the rusty bumper. Does I.H. even make pickups anymore? Wendell holds up his hand like a juror taking the oath, and the truck jounces and dips over another few rutted feet before coming to a halt. Its left side sits noticeably higher than the right. In the darkness cast by the trees, Wendell cannot quite make out the faces peering at him through the windshield, but he has the feeling that at least two of them are familiar.
The man behind the wheel pokes his head out of the driver’s window and says, “Hidey-ho, Mr. Bigshot Reporter. They slam the front door in your face, too?” It is Teddy Runkleman, who regularly comes to Wendell’s attention while he is going over the day’s police reports. The other three people in the cab bray like mules at Teddy’s wit. Wendell knows two of them—Freddy Saknessum, part of a low-life clan that oozes in and out of various run-down shacks along the river, and Toots Billinger, a scrawny kid who somehow supports himself by scavenging scrap metal in La Riviere and French Landing. Like Runkleman, Toots has been arrested for a number of third-rate crimes but never convicted of anything. The hard-worn, scruffy woman between Freddy and Toots rings a bell too dim to identify.
“Hello, Teddy,” Wendell says. “And you, Freddy and Toots. No, after I got a look at the mess out front, I decided to come in the back way.”
“Hey, Wen-dell, doncha ’member me?” the woman says, a touch pathetically. “Doodles Sanger, in case your memory’s all shot to hell. I started out with a whole buncha guys in Freddy’s Bel Air, and Teddy was with a whole ’nother bunch, but after we got run off by Miss Bitch, the rest of ’em wanted to go back to their barstools.”
Of course he does remember her, although the hardened face before him now only faintly resembles that of the bawdy party girl named Doodles Sanger who served up drinks at the Nelson Hotel a decade ago. Wendell thinks she got fired more for drinking too much on the job than for stealing, but God knows she did both. Back then, Wendell threw a lot of money across the bar at the Nelson Hotel. He tries to remember if he ever hopped in the sack with Doodles.
He plays it safe and says, “Cripes, Doodles, how the hell could I forget a pretty little thing like you?”
The boys get a big yuck out of this sally. Doodles jabs her elbow into Toots Billinger’s vaporous ribs, gives Wendell a pouty little smile, and says, “Well thank-ee, kind sir.” Yep, he boffed her, all right.
This would be the perfect time to order these morons back to their ratholes, but Wendell is visited by grade-A inspiration. “How would you charming people like to assist a gentleman of the press and earn fifty bucks in the process?”
“Fifty each, or all together?” asks Teddy Runkleman.
“Come on, all together,” Wendell says.