We asked the pilot to go back, and tried to see if any tracks diverged. I made the mistake of asking them to orbit the little bridge area so we could get a photo. The crew chief slid the door open, so we could have "unobstructed vision, sir." Right. Cold, oh Lord was it cold, and my feet were hanging out over the edge of the fuselage, and we went into a bank with us on the down side, and there was nothing to hang on to, and I was so sorry I'd asked…
We got our shots, though. Art didn't seem to be bothered a bit by hanging on the edge of oblivion. I, of course, didn't let on. Having discovered the steel post toward the center of the cabin, I'd casually slipped my arm over the back of the seat, and grabbed on for dear life with my left hand. The crew chief blew my act when he said, "Don't worry, we haven't lost one yet."
He slid the door closed, again, and went back and forth between the two farms three times. We thought once that we had something, but it turned out to be a cow path.
They all went to and from the farms. No splitting off. Direct route. Then, once they got to the hired man's residence, they went all over hell. Whoever ran the snowmobiles apparently really enjoyed traveling about the countryside. There must have been fifty tracks radiating out from that other farm, some going through fields, some staying close to established paths. One particular set simply made circles in a forty-acre field. Somebody just playing around. Another several sets to and from a machine shed on what must originally have been a third farm. Big shed, with the empty foundations of a house and barn behind it. Storage for planting and harvesting equipment.
"Look," I said, brightly, on the intercom. "Crop circles."
There were also lots of black Angus cattle in the fields near the farm. Beef cattle. The hired man was likely using the snowmobiles to herd the beef cattle.
I suggested we fly the foot tracks that went from the farm, over the hill, and to the road; the ones we had just walked. We did, at about 1,000 feet. As we passed over the Borglan farm, I saw there were several people standing outside, looking up. I waved, but I don't think they saw me.
As we headed for the hill, our own tracks were glaringly obvious, but the track we had followed was pretty faint. We then flew the ridgeline, and there were no other tracks that we could see. We paralleled the roadway, and were unable to make out any points where somebody had crossed the fence line. We did a wide circle of the farm, and there were no tracks we could see coming in from anywhere. We did have one set of depressions that looked fresh. The pilot, at the request of Art, went into a low hover to give us a better look. Obligingly, the crew chief slid the door open, and in the freezing draft, we could see they were deer tracks. We came out of hover quickly, as the pilot wasn't supposed to descend lower than 1,000 feet, according to regulations.
Interestingly, I found it scarier to hover just above the tops of the trees than it was to orbit higher up. Better sense of height, I guess.
We flew back to MAX, thanked the crew, and were back in our car. Art and I compared notes. This is what we had, generally:
All the tracks out of the Borglan place go through the hired man's yard. This means
A. He did the killing.
B. He has knowledge of who did the killing.
C. He has at least heard somebody go through his yard in a noisy snowmobile after they killed the brothers.
D. The killer is still at the farm.
"I figure," said Art, "we can pretty well eliminate the 'D' above."
I figured we could, too. Although there were no foot tracks from the house going anywhere except to the machine shed. The only other track was the snowmobile track that was near the back door. If our killer didn't take the snowmobile, he would have to have been in the house when I was first there. I didn't believe it for a minute, but it gave me a funny feeling in the back of my neck, anyway.
My feelings must have shown on my face. "Got a case of the spooks, Houseman?"
"Oh, sort of…" I said. Then, "Nah, we searched that house thoroughly." But I remembered very well the feeling that I was being watched…
I just drove. Back in the days when I smoked, this would have been the time.
I picked up the mike, and called for dispatch to phone Borglan's hired man, and let him know we were coming.
Art read off the sheet he'd picked up at dispatch earlier that morning. According to his information, the hired man was a fellow named Harvey Grossman. His driver's license had said he was born in '62, five feet nine inches, 180 lbs., blue, and brown. I didn't know him, but Lamar had told me that he'd moved to our county back in '93 or '94.
I was getting a little worried. Art was pretty well established as thinking that Fred had done the dirty deed. I didn't agree, and thought that Fred was telling the truth. All well and good, and an indication of a balanced investigation. The part that worried me was that I thought it was very likely that we were just about to talk with the man who had murdered the two burglars. I mean, if Fred hadn't done it, and all the snowmobile tracks at the Borglan place led to the residence of one Harvey Grossman, who was left?
Just for the sake of arguing with myself, I assumed that Grossman had been at the residence for some reason, and had caught the burglars in the act. Perhaps there had been some sort of confrontation. Turned violent. Bang. Bang. And then, bang. Put 'em in the shed. Who else would even be looking in there until the Borglans came back? If, as he said, Cletus had been called back unexpectedly for business, then how could Grossman have known he'd be coming? Right. He couldn't. All the time in the world to dispose of the bodies, as far as he could have known. The forecast was for warming for the next week or longer. Just wait a few more days for enough of a thaw to get them into a shallow pit. Move the corpses later, if necessary.
"How certain are you," I asked, "that Grossman here isn't the killer?"
"Just about positive," said Art. "Why?"
"Well," I began, and ran my theory by him. Quickly, but with some feeling.
"It's a point." He waited in silence. "Okay, it's a good point. If Fred didn't do it, this Grossman dude is the most likely suspect. Sure. So…?"
"Well," I began, again, "if he is a suspect, shouldn't we just come right out and advise him of his rights as soon as we see him? Let him know, and take it from there?"
"Jesus Christ, Houseman," said Art, "don't be so goddamned honest!"
"What?"
"No kidding," said Art, exasperated, and with uncharacteristic length. "Look. Keep the suspect business in the back of your head, but don't go getting carried away on me. Let the conversation flow. If he sends the right signals, then we hit him with Miranda and handcuffs all at once. Otherwise, lighten up."
"I know all that," I said, getting a little exasperated myself. "But, in court, if some attorney asks when I first thought this guy was a suspect, I'm gonna have to tell him it was before we talked with him for the first time."
"What did you do?" asked Art. "Watch the entire O.J. trial?" He sighed. "Don't worry about it. Fred's the shooter. Trust me."
Yeah. Right. As I drove, I reached back under my down vest, and unsnapped the restraining strap on my holster. I'd feel a lot better trusting Art if my gun was unsnapped when we walked to Grossman's door.
We pulled into the lane, and on the way to the residence, we drove through a nest of outbuildings. The house wasn't nearly the quality of the home place, but it was nice, and well maintained, nonetheless. It and the outbuildings were white frame, and looked pretty sound. The door to the wooden machine shed was opened, and there were four snowmobiles parked inside. One thing that struck me about them was that none of them had the little orange flags, and none of them appeared to have registration numbers on the cowl. Cops with a patrol officer's background notice stuff like that. I was willing to bet Art hadn't picked up on that