"What's the trouble here?"
"No trouble." Ted Forester was obviously not used to answering the questions of some cop, of the uniformed variety yet.
"Why did you push that man into the car?"
"To be exact, Officer, I didn't push him into the car. My friend Larry Price pushed him into the car. And he did so because David Haskins, the man who is now snoring soundly in the back seat, got very drunk and obnoxious tonight. If, that is, it's any of your business."
"I'd like to see your license, please."
"What?"
Whatever powers the Supreme Court takes away from the police, a cop can always irritate you with his authority by asking to see your license.
"Your license, please."
"Why?"
"Because I have the legal authority to ask to see it and because I am asking to see it."
It was at this point that Ted Forester's eyes fell on mine and he frowned immediately. He glanced over at Larry Price, who nodded to him. I wondered if they were going to come after me in their big silver Mercedes. Then I wondered why they'd want to come after me in their big silver Mercedes.
Forester, tall, trim, handsome in the way of a bank president from central casting, took out a long slender wallet and opened it up like a diplomat presenting his credentials.
Billy Lynott, playing it out, took the wallet and shone his flash on the license and studied it as if he were going to be given a pop quiz on it.
Then he handed it back.
"All right, Mr. Forester," he said. "Just be sure to drive carefully."
Forester glowered at him and then at me again and then the Mercedes pulled out of the lot, Larry Price's eyes on me like lasers in the gloom.
"Asshole," Bill Lynott said when he came back to me. "He always was."
"Maybe I should have made him walk the line."
"He probably would have sued you."
"Yeah, he's the kind all right."
The ambulance attendants were closing the back doors and coming around to get in the cab.
For a moment I felt her in my arms again, the warmth of her flesh, the lovely smell of her hair, the unknowable mysteries of her gaze. I'd loved her and hated her and been afraid of her, but after it all, she'd still been the little girl I'd first met in kindergarten, shared a nap-time blanket with, watched grow into the beauty among the weeds and screams of the Highlands. Then I thought of the suitcase again. What was in it she'd wanted so badly? What was in it that somebody would beat up Glendon Evans for?
"Maybe you should get out of here," Billy Lynott said.
"Yeah. Maybe I should."
"I mean, if downtown wants to get a hold of you, they'll just give you a call."
"Right."
He put a hand on my shoulder. "I'll say 'hi' to Benny for you."
Suddenly, ridiculously, I wanted to see Benny again, have a beer or four with him, shoot some pool, speculate on women and the Cubs and why Democrats just always seemed better than Republicans. I didn't want to be nearing forty-five.
"Yeah," I said, "if downtown wants me, they can give me a call tomorrow."
I went and got in my Toyota and got out of there.
Chapter 9
Donna wasn’t there.
She has an apartment building you can get into only if someone inside buzzes you in. I buzzed several times. Nothing.
I walked out to the parking lot and watched the moon and thought about Karen Lane, alternating between absolute certainty that what had happened to her had been coincidental-stroke, aneurysm, as Bill Lynott had suggested-and knowing with equal certainty that she'd somehow been murdered.
"Hello," said a couple walking past me from their car. They were both stockbrokers and both wore gray flannel suits, and both drove Datsun Zs and smoked Merits and belonged to health clubs and vacationed in Aspen and subscribed to the Book-of-the-Month Club. I knew all this because Donna had profiled them for Ad World as typical age-thirty-five consumers. The odd thing was, they even looked alike in a certain way, blond and blue-eyed, friendly in an almost ingenuous way. Their name was Burkett and I sort of liked them.
"Hello," I said. Then, "Say, would you let me into the building?"
"Sure," Todd Burkett said. "Is everything all right?"
"I think maybe Donna's just taking a shower or something. I was supposed to meet her here but there's no answer."
"Come on," Mary Anne Burkett said.
So we went up to one of the nine dark brick buildings piled against small mountains of pine and fine green grass that stretched along a river made silver by moonlight. As Ad World became more successful, Donna's apartments became fancier.
"We're having some stir-fry and white wine," Mary Anne said as we walked up the wide dramatic staircase leading to the second level. "Would you care to join us?"
"Then we're going to watch Cape Fear on the VHS. Have you ever seen it?"
"Yes," I said.
"Isn't Gregory Peck wonderful?" Mary Anne said.
Then I realized that no matter how much I liked them, there was some spiritual demarcation line that would always divide us. The picture belonged-cigars, boxer shorts, cheap straw fedora and all-to Robert Mitchum. Peck is in fact a cypher, little more than a symbol of all that is right with Suburbia. Ethically, he's admirable as hell. Dramatically, he's as bland as an eighth-grade history teacher at a Fourth-of-July ceremony.
"No, thanks. But maybe some other time."
"Peck is really fantastic."
"Yeah, I know."
So they went to their woks and their Water Piks and their copy of Cape Fear and I went down to Donna's and knocked on the door.
I put my ear to the door the way private investigators who specialize in adultery always do. I heard all the sounds an apartment is supposed to make, the vague electronic buzz and crackle and hum that signify that all appliances are alive and doing well. But I heard nothing else.
Then down the hall I heard conversation and turned to see the Burketts talking to Candy James, a TV weather woman who lived in the apartment at the end of the hall. Candy was trying to get herself going in theater, too, and so we'd always just naturally gotten along. "Hi, Jack."
"'Hi."
"I saw Donna leave a few hours ago. She said she was going over to your place."
But then she was supposed to come back here. "You didn't hear her come back?"
Candy, who is small and cute, with a curly cap of black hair and a smile that can melt metal, said, "No, I don't think so, anyway. You think something's wrong?"
"Probably not. I'm just kind of curious is all."
"Well, I've got a key. We swap keys in case we get locked out. You want it?''
"Great."
A minute later I had the key and went in and looked around and found nothing. As usual, the place was a tribute to work but not to tidiness, there being enough books and magazines stacked on the floors and on tables and on chairs to open a branch library. Unfortunately buried beneath all the Ad World research material were such gems as a drop-leaf harvest table with matching bird-cage Windsor chairs and a cast-iron mantel that she'd found in the city dump.
Her bed hadn't been made, there was yellow egg crust on the face of a green plate next to the microwave, the Crest tube in the bathroom looked as if it had been thrown into a trash compactor, then somehow lifted back out again (she has these killer moments of frugality).
Something was wrong. She is prompt, neurotically so, and if she said she'd meet me here, then she'd be here.
But she wasn't.
I went to the phone and stared out of the window at the silhouettes of the pines jagged against the night sky, their tips white in the moonlight. I let the phone ring at my place at least twenty times. Then I tried the offices of Ad World and got nothing and then I tried the number of her assistant, Jill, and got nothing there, either.