Mr. Mercedes (Bill Hodges Trilogy, #1)(4)

Augie was shoved hard to the left, stumbled, recovered, and was pushed forward. A flying elbow struck his cheekbone just below his right eye and that side of his vision filled with bright Fourth of July sparkles. From the other eye he could see the Mercedes not just emerging from the fog but seeming to create itself from it. A big gray sedan, maybe an SL500, the kind with twelve cylinders, and right now all twelve were screaming.

Augie was driven to his knees beside the sleeping bag, and kicked repeatedly as he struggled to get back up: in the arm, in the shoulder, in the neck. People were screaming. He heard a woman cry, “Look out, look out, he’s not stopping!”

He saw Janice Cray pop her head out of the sleeping bag, eyes blinking in bewilderment. Once more he was reminded of a shy mole peering from its hole. A lady mole with a bad case of bed head.

He scrambled forward on his hands and knees and lay down on the bag and the woman and baby inside, as if by doing this he could successfully shield them from a two-ton piece of German engineering. He heard people yelling, the sound of them almost lost beneath the approaching roar of the big sedan’s motor. Someone fetched him a terrific wallop on the back of his head, but he barely felt it.

There was time to think: I was going to buy Rose of Sharon breakfast.

There was time to think: Maybe he’ll veer off.

That seemed to be their best chance, probably their only chance. He started to raise his head to see if it was happening, and a huge black tire ate up his vision. He felt the woman’s hand grip his forearm. He had time to hope the baby was still sleeping. Then time ran out.





DET.-RET.





1

Hodges walks out of the kitchen with a can of beer in his hand, sits down in the La-Z-Boy, and puts the can down on the little table to his left, next to the gun. It’s a .38 Smith & Wesson M&P revolver, M&P standing for Military and Police. He pats it absently, the way you’d pat an old dog, then picks up the remote control and turns on Channel Seven. He’s a little late, and the studio audience is already applauding.

He’s thinking of a fad, brief and baleful, that inhabited the city in the late eighties. Or maybe the word he really wants is infected, because it had been like a transient fever. The city’s three papers had written editorials about it all one summer. Now two of those papers are gone and the third is on life support.

The host comes striding onstage in a sharp suit, waving to the audience. Hodges has watched this show almost every weekday since his retirement from the police force, and he thinks this man is too bright to be doing this job, one that’s a little like scuba diving in a sewer without a wetsuit. He thinks the host is the sort of man who sometimes commits suicide and afterward all his friends and close relatives say they never had a clue anything was wrong; they talk about how cheerful he was the last time they saw him.

At this thought, Hodges gives the revolver another absent pat. It is the Victory model. An oldie but a goodie. His own gun, when he was active, was a Glock .40. He bought it—officers in this city are expected to buy their service weapons—and now it’s in the safe in his bedroom. Safe in the safe. He unloaded it and put it in there after the retirement ceremony and hasn’t looked at it since. No interest. He likes the .38, though. He has a sentimental attachment to it, but there’s something beyond that. A revolver never jams.

Here is the first guest, a young woman in a short blue dress. Her face is a trifle on the vacant side but she’s got a knockout bod. Somewhere inside that dress, Hodges knows, there will be the sort of tattoo now referred to as a tramp-stamp. Maybe two or three. The men in the audience whistle and stomp their feet. The women in the audience applaud more gently. Some roll their eyes. This is the kind of woman you don’t like to catch your husband staring at.

The woman is pissed right from go. She tells the host that her boyfriend has had a baby with another woman and he goes over to see them all the time. She still loves him, she says, but she hates that—

The next couple of words are bleeped out, but Hodges can lipread f*cking whore. The audience cheers. Hodges takes a sip of his beer. He knows what comes next. This show has all the predictability of a soap opera on Friday afternoon.

The host lets her run on for a bit and then introduces . . . THE OTHER WOMAN! She also has a knockout bod and several yards of big blond hair. There’s a tramp-stamp on one ankle. She approaches the other woman and says, “I understand how you feel, but I love him, too.”

She’s got more on her mind, but that’s as far as she gets before Knockout Bod One goes into action. Someone offstage rings a bell, as if this were the start of a prizefight. Hodges supposes it is, since all the guests on this show must be compensated; why else would they do it? The two women punch and claw for a few seconds, and then the two beefcakes with SECURITY printed on their tee-shirts, who have been watching from the background, separate them.

They shout at each other for awhile, a full and fair exchange of views (much of it bleeped out), as the host watches benignly, and this time it’s Knockout Bod Two who initiates the fight, swinging a big roundhouse slap that rocks Knockout Bod One’s head back. The bell rings again. They fall to the stage, their dresses rucking up, clawing and punching and slapping. The audience goes bugshit. The security beefcakes separate them and the host gets between them, talking in a voice that is soothing on top, inciteful beneath. The two women declare the depth of their love, spitting it into each other’s faces. The host says they’ll be right back and then a C-list actress is selling a diet pill.