He found a serve-yourself that was open, but they wouldn’t let him fill up because it was an odd-numbered day and he had license plates that ended in an even number. So he pulled off to one side and waited for the clock to run past midnight when it would be the next day and he could get pumped up.
I wasn’t there, no one was there in his head, but I know what he was like, and from the story the culeros told, it had to have happened like this. And even if it didn’t let’s see how well we can get inside the characters, let’s see how fluidly we can carry the action, let’s see if we can plumb the intricate motivations. This is called sensitive, creative writing; full of heat, Jimmy; pulling the plow, Jimmy; getting the powerhouse up to peak efficiency.
What we need is a good opening, a tough literary hook.
Kerch Crowstairs slumped behind the wheel of the Rolls Corniche, listening to the second movement, the Allegro appassionato, of Brahms’s Concerto in B-flat major. In the chopped and channeled Chevy beside him the raucous clatter of the Eagles banged uneasy counterpoint…
No, too esoteric. Not Hammett enough.
How about this:
He was distracted. Thinking about the past, the future, indefinite times and opportunities passing too fast for analysis. Under him the Rolls hummed softly, waiting for the light to change. Beside him three Chicanos in a decked Chevy raced their motor. Drag for pink slips, mister?
No, too diffuse. Not enough oomph.
I can’t do it, Jimmy. I can’t write like you! I can talk and think in your voice, because I can hear you… I’ve always had phonographic recall. But I can’t put it down in your bloodthirsty Visigoth way.
What happened was…
He filled the tank. He drove back out onto the street. He was listening to the classical music on KFAC-FM. He was smoking his pipe. He was sitting at the light, waiting for it to change, simply enjoying the cool night air and the pleasant music and the smoke rising from the pipe. The empty Perrier bottle lay on the passenger seat. A car pulled up beside him in the left lane. Someone spoke in the night. He was caught up in the gentle feel of the music washing over him, the sense of ease and leisure. He was relaxed. For once, he wasn’t on, he wasn’t angry, he wasn’t hyper. He was feeling good; and he paid no attention to the voice. But it spoke again, louder, coarser, directed at him. He looked across. Two young men, late teens, maybe early twenties, in the front seat. Another one in the back seat, looked asleep. The kid closest to him yelled again. “Hey! Cabrón! What’re you smokin’ in the pipe?” The’ light changed. He took off. At the next light they raced up, gunned the motor, closer to his lane now. “Hey, man, de dónde? I ast you what the fuck you smokin’ in the pipe?” He stared ahead. He didn’t want any hassles. God, don’t these lights change? “Hey, mamador, you gonna answer me or I’m gonna come over there an ‘ whip your ass?” He lOOked at them. If Rich Garza or Pano Del Rio were here, they’d have just the right words to back these clowns off. But he was alone. “I’m smoking Essence of Asshole,” he said: “I’m smokin’ your mama.” And the light changed, and he hit it. They ran up his tailpipe to the next light. Jesus, how many lights are there before the freeway? As he screeched to a halt the one on the passenger side jumped out and came across to grab him. He dumped it into reverse, backed up three feet, threw open the door and knocked the silly sonofabitch flat on his ass. Then he took off through the just-changing light. Behind him the passenger was climbing back aboard as the driver decked it. They caught him at the next light and he thought about going straight through: the freeway was one street up. But now the adrenalin was pumping. He stopped at the light and grabbed the empty Perrier bottle. When the passenger got to his window he swung the bottle in his left hand with a flat, scythelike movement and busted out the guy’s teeth, emptied his mouth and sent him careening backward into the Chevy. Then he went through the light, turned sharp left, ran down the side street to the freeway entrance, hit the ramp doing sixty and was on the San Diego before the driver could load his buddy back into the trashwagon. ¡Huo de la chingada!
They caught him just beyond the interchange of the San Diego and Santa Monica freeways. He was in the fast lane, the number one next to the divider. He was doing seventy-five. The Chevy came up on the right and the berserk latino swung it over hard; lock to lock, maybe not—but hard. The Rolls took it just behind the door, slewed into the cyclone fence, scraped along throwing sparks back in a fan, then shot ahead as Jimmy floored the Corniche. ¡Puto pendejo!
Doing ninety, he cut out of the number one lane, slanted across the second, third and fourth lanes, and ran away. The Chevy caught up on the grade leading through the saddle of the hills to the Valley. The culeros rear-ended him. Hard; once twice three times. Jimmy braked, speeded up, cut in and out, but the Chevy was hot, it ran him down like a bulldogger. ¡Vatos locos!
Two miles before the Mulholland offramp the cholos said aw, fuck it, and decided to boom him. They came up in the number three, doing ninety-five, went ahead by two car-lengths and slant-drove across his bow. Jimmy stood on the brake but it didn’t count. They impacted at eighty-five, the Corniche went in hard on the right front, ricocheted, spun out and went over the side. The Rolls hit the berm, dropped and began to somersault. The Chevy was horizontal across the three and four lanes, caught a centerpunch from a long-distance moving van, lifted, went tail-over onto its roof, sliding across the shoulder, followed Jimmy over the side two hundred yards beyond him and came to rest against a low hillside.
Behind the latinos the Rolls Corniche took one last roll, hit the crumbling hillside and went off like a can of beer shaken in a centrifuge. It blew apart scattering hot metal and parts of Jimmy allover the Santa Monica Mountains.
Say goodbye to Kercher O. J. Crowstairs.
“I’m not feeling too giddy about all this, now that we’re alone,” Jimmy said from the screen. “You five are the most I’ve got left. Everybody else has been taken care of; okay, they’re okay; I took good care of them, in the ancillary sections of the will. But you five are the big scores, and I wanted you to hear it straight from. me.”
He stopped, wiped his mouth. Jimmy nervous? Come on, give me a break here.
“Missy, you’re first,” he said, looking all the way to his left, directly where Mississippi was slouched in her seat, long legs crossed straight out in front of her. “You get The Kerch Corporation and all its holdings.”
SylviaTheCunt gasped, off to my left. The smell of cardiac arrest was there in the library.
Jimmy went on. “You keep it running. There’s the land up at Lake Isabella, we own it free and clear now, and it’ll be built up pretty big within the next five years, they’re putting in that Kern County International Airport. Keep adding to the art, find a place to show it, something nice and stately like the Norton Simon Museum… you know… something toney and really chi-chi. Set your own salary, keep on as much of the staff as you need, hire more, fire some, do what the hell you want with it. It was just a dodge to keep the tax fuckers off my carcass, anyhow. You make it into something terrific, kiddo. I love you, babe. You watched out for me real good.”
Missy was crying. Toughest woman I ever met, but she—even she—lost it when Jimmy went to work at the top of his form. In Iran there’s a word—zirangī—it means cleverness, or wiliness. The Machiavellian quality. It’s much admired by the Shiites. Jimmy would have been a smash in Islam.