Then Pete nods and be damn if he doesn’t touch her face, lets his fingers trail down her cheek and move over to her lips and then, Jesus Harvey Christ, he kisses her. And I don’t mean like you kiss your grandma. He lays it right on her, open mouthed, and I see something kind of fat and black that I think is maybe her tongue, and man, that’s all I want to see. I look down and take a few deep breaths, thinking about the lengths that people will go to to get what they want, and hoping I never get that desperate.
After I don’t know how long, I look back up, and now, good God, it’s even worse. I mean, he’s doin’ her, right there on the floor. They got their clothes off and he’s on top of her, and I never saw anything like that in my life, it looked like he was trying to screw that thing in the basement in those Evil Dead movies. I near to puked, and I looked away again but I still heard them, Pete panting like he was, I don’t know, in the throes of ecstasy, and that old woman just grunting like a pig, louder and louder till it seemed like something busted inside her, and she let out this howl like some crazy monkey with its tail on fire.
It got quiet then, and I looked through the chink. They were both lying there, and it wasn’t pretty, and I started thinking about what an absolute whore Pete Waitkus was, and I’da bet dollars to donuts that Alan Lomax never would’ve done nothing like that for a lousy song.
It was almost like Pete heard me thinking, bringing him back to square one, because he said, “Now… now will you sing for me?”
And she did. She started with that shortened fourth verse, and I’m not gonna try and sound like her because there’s no way, but it was all high and airy, not as screechy as before, but just plain spooky…
She paused for a second, and I thought, oh shit, that’s all. She screwed Pete twice tonight. But then she went on, and it was the money shot…
Damn me, yes. We were getting there, all right. Nobody’d ever heard that one before. She started on the chorus…
Then I heard a rustling, shuffling kind of sound that seemed to be outside with me, and when I turned my head I froze. Up toward the front of the cabin there were some people walking. I counted four shapes in the moonlight, one after another. They were moving slow, but like they knew where they were headed.…
The two shorter ones had on long skirts, and the two tall ones were wearing pants, so I figured two men and two women, but when they went through the door and I saw them in the candlelight, they could’ve been anything. What was left of their hair was long and straggly, and if the old woman on the floor was a little long in the tooth, then these four had already had the worms at them. And that’s not just a figure of speech.
Then the old woman says, “It’s time for the last verse,” and she puts on her dress, thank God, pulls it over her head as fast as a young woman might, and quick gets on her feet while the others surround Pete, who’s still naked.
The two in pants reach down and grab him, one by his legs and the other by his arms, and pick him up like a baby. They go outside with him, moving fast now, toward that pole in the forks of two trees that I thought was the frame for a swing. The one man drops the top half of Pete’s body and the other one hauls up on the legs so he’s got Pete’s feet up in the air, one on either side of the pole. Then one of the women sticks Pete through the back of both ankles — Jesus, did he squeal — with a long wooden stake sharpened on both ends, and before I can shut my jaw, they got him hanging head-down from the pole, and I realize that it ain’t no swing. It’s a pole for slaughtering hogs.
I fumbled for the gun in my pants and started to pull it out, but it got caught, and before I could free it, the old woman started to sing again. It was the last verse. Oh Jesus, was it ever, and now her voice sounded almost sweet. And this is what she sang…
Then one of the men cut Pete’s throat.
I knew it was too late, my hand on the gun slumped. The blood just poured out of him, and one of the women caught it in a wooden bowl. He kept moving for a while, but he was dead. I couldn’t have saved him. I keep telling myself that, and I hope it’s the truth.
Then they did what she said they’d do in the song. And I could only crouch there in the shadows and watch, afraid to move, praying the moon wouldn’t light me up. Hell, I didn’t know what they were, I didn’t know if I even could shoot them, if it’d do any good. It wouldn’t do Pete any good, that was for sure.
After they got done with Pete — taking what they wanted from him — they went into the cabin, and they ate and drank like the song said, and I was still too scared to move, to make a sound. But after a while the sounds inside the cabin, like pigs eating from a trough, they stopped, and it got quiet, and it was darker too. I’d just started to move when I heard the old woman’s voice — at least I think it was hers. It sounded different, soft but… stronger. It was singing.
It was singing a final chorus, a chorus that maybe nobody outside this hollow had ever heard.
When it was finished, I looked into the cabin through the chinks. All the candles but one had burned out. The Lovins, all five of them, were lying on the floor, like hogs that had eaten their fill and fallen asleep.
I stood up and took a step away from the cabin, and my foot lit right on a dry branch that snapped loud as a breaking bone. I held still. I could feel sweat just oozing out of me. I waited for footsteps crossing the cabin floor to the door, but they didn’t come.
So I got a little braver and looked in through the window. None of them were moving at all. It was like they were dead drunk. And then I knew what I had to do.
I thought about it as I picked my way through the trees toward the RV. Whatever these things were, they were evil. I didn’t know if they’d magicked Pete or what, but my folks are from the hills, and my grandpas and grandmas and aunts and uncles told me things that people would say were crazy, but which they really believed in. They saw things happen with their own eyes that we’d say were impossible. And I saw something tonight that made no sense at all in the real world. At the very best, these… people were murderers. Pete was dead, and they’d killed him. And worse.
I’d seen the two-gallon can of gas in the back of the RV, so I took it and a pack of matches and went back to the cabin. It was still dark but for the moon, and I finally looked at my watch. Two thirty-five. There was plenty night left — too much of it.
It took me some nerve to go inside, but I did. The Lovins weren’t moving. Hell, they didn’t even seem to be breathing now. The last candle was burnt out, but the moon gave me just enough light to work. I slopped the gas all up the dry wood walls and over the floor. I didn’t splash any on the Lovins, though, just in case they might wake up, but they didn’t. The tallest man, who I took to be the father, was lying in a patch of moonlight, and he wasn’t what he’d been before. His hair was full and long and dark, except for gray at the temples, and his skin was whole again.
That was enough. I didn’t want to look at the others.
I poured a trail of gas out through the front door and then touched a match to it. It ran inside quick as a snake and the whole shebang went up at once. That dry wood took to fire like kindling, and in less than a minute the cabin was blazing. Nothing moved inside. I don’t think even the burning woke them up.
The hollow was pretty well hid, so I doubted anybody’d see the flames, and there was enough of a clearing around the cabin that I didn’t think it’d set the woods on fire, though I didn’t give a damn if it did or not. I wasn’t thinking real clear.
But clear enough to haul down what was left of Pete. I found an old shovel in an outbuilding and buried him away from the cabin, back in the woods. It would’ve been quicker to toss him in the fire, but I didn’t want him with them. Not any more than he was.
I said some words over him, climbed in the RV, and drove through the dark back toward Nashville. I got lost a couple times on those dirt roads, but finally hit a blacktop and got my bearings. Back at Pete’s I put the RV in his driveway and pulled my car out of his garage without anybody seeing me, and drove home.
I had the song with me. I had it in my head. And by God, I was gonna do something with it. I couldn’t tell the truth about how I got it, so I figured I pull that journalistic thing and say I couldn’t reveal my sources. If people don’t believe me, the hell with them. One thing in my favor is that it makes something terrible out of a song everybody loves, and if I’d made it up on my own, I sure wouldn’t have done that.
I kept Pete’s DAT copy of Bertha Echols and played it again and heard something else different. That line about “You are a lovin’ daughter/My father said to me/But before you wed I’ll see him dead…” That wasn’t transcribed right either. Bertha Echols sings it “You are the Lovin daughter” and not “but”—“So before you wed I’ll see him dead,” like one thing follows the other, and for the Lovins it did.
Once I had all the lyrics in my head, I told my manager about it and he got to work. Boy, did he ever. I’m recording it next week, and Sony’s already offered to buy out my Rounder contract. I’m getting a full hour with Terry Gross on National Public Radio, twenty minutes with Larry King, I’m booked on Prairie Home Companion, but we’re actually gonna spring the song on 60 Minutes. I get the final segment, and they’re flying to Nashville and broadcasting me live singing it for the first time. A straight ahead ballad with guitar, no banjos or bluegrass from now on. Oh no, I’m looking to get back into country, where the money is.
Hell, I can wear a cowboy hat as well as the next guy, and lose a few pounds around my middle, too. Besides, the country crowd aren’t as tough on you as those tightass bluegrass folks if you wanta split from your wife and remarry — or hell, maybe just be a swinger again.
Since Linda left, my love life’s been drier than a west Texas August, but it looks like my luck might be changing. Met a real honey in the Station Inn a few nights ago. Incredible. A ten. Eyes to drown in, sweetest voice you ever did hear, and we been goin’ out every night since. Kinda surprised me she’d be rubbin’ up on a guy my age, but maybe she’s got one of those daddy complexes you hear about. I know she’s got her sights set on this old songbird, because she says she wants to take me home tonight to meet her kin. What the hell, maybe her mama can cook.
A certain chubby mandolin player made a crack about the “old hag” I was with — I knew that boy’s eyesight was bad from the diabetes and the booze, but not that much. He must be near blind as a bat. Or just jealous. Can’t blame him, I guess. It’s pretty damn amazing that a girl like her is sweet on a guy like me. Yep, my luck’s just runnin’ good for a change.
That’s about it, I guess. Tomorrow’s 60 Minutes, and I get famous again. I have to confess, though, I guess my conscience is bothering me a little — not over what I did up there in the mountains, but about whether I should do it or not, you know, take a song that people have loved their whole lives and turn it into something else, something… ugly. But hey, you can’t buy this kind of publicity. If I hadn’t have gotten it, maybe somebody else might’ve. And the money’ll be nice — I got the copyright, and whoever covers it — and there’ll be plenty in years to come — will have to pay old Billy Lincoln.
Yeah, like I say, the luck’s runnin’ good as a spring stream.
But I never did play that last chorus, did I? The last one I heard the old lady sing. Well, okay then, here we go, just in case I get hit by a meteor or struck by lightning before tomorrow night…