World of Trouble (11 page)

“Thank you, Billy,” I say, and close my notebook. “You’ve been
very helpful.”

“No sweat, brother,” he says, walking away. “I gotta go and kill Augustus.”

*  *  *

Now it’s time to leave, it really is. The moon is up.

But I stand inside the RV with Sandy, watching Billy select and slaughter the final chicken of this twenty-four-hour period. Houdini remains outside, at the edge of the coop, his chin lowered in his paws, staring warily at Billy as he stalks among the waddling birds. Now there’s nothing left. Billy has got long yellow gloves on, pulled up almost to his elbows, and a heavy butcher’s apron over his bare upper body, tufts of black chest hair sprouting up over the top of the apron. The coop looks new; the crossbeams, connecting from post to post to post and strung with chicken wire, are of pine wood, smooth and regular two-by-fours, newly cut and precisely measured. The posts themselves are concrete. At the base of one of the posts of the coop is stamped a small three-letter logo, the single word
JOY
in all caps.

“Hey. Hey,” I say suddenly. “Hey, Sandy. That chicken coop.”

“Nice, huh?” She’s transfixed, watching Billy in his yellow gloves lift doomed Augustus out of the crowd.

“Sandy, who built that coop for you all?”

“The chicken coop?”

“Yes, right. Who built it?”

“This guy,” she says through a yawn. “This Amish guy.”

“Amish guy?”

Billy and the chicken a blur at the periphery of my vision. My mind rushing and racing. Billy lifts the bird by the neck, lifts it high as if considering the weight. Houdini’s eyes follow the squawking, flapping victim.

This Amish guy, Sandy says, Billy encountered down in Rotary proper. “He was in town, putting up signs, basically. Odd jobs, concrete work. Will work for food, you know.” She looks at me, sees my intent expression—concrete work, I’m thinking, just two little words, concrete work—she keeps talking. “It was funny, actually, I was just telling Billy we had to make ourselves a coop for these damn things, and he says he’s got no idea how to do that. Half hour later, we run into these guys.”

“These guys? There were more than one of the Amish guys?”

“No. One Amish guy. A big guy, older guy, big thick beard, black with gray in it. Must have come from down county, that’s where they live out here. But he had a couple of foreigners with him, you know?”

“Foreigners, as in CIs.”

“Yeah. Exactly. CIs. Confused-looking sons of bitches. Chinese maybe? I don’t know. But they didn’t say a word, they just worked. Worked hard, by the way. The Amish guy, though, he was calling the shots.”

“Did you get his name?”

“You know what? I did not. I know Billy didn’t. I think we just called him Amish Guy for the four hours he was here. He didn’t laugh, but he answered to it.”

Billy presses the chicken’s small pinched face down on the top of an upside-down wooden crate to hold it still. The chicken angles his head upward by instinct so it seems to be staring straight ahead, while Billy’s big hand steadies the wriggling round body. He brings the axe down in one long sweeping arc, slams the blade through the chicken’s tiny neck, and blood shoots out in all directions. Billy turns his head away, just for a second, an expression of pure horror and disgust. The chicken’s body jumps and he holds it steady with his hands. Houdini comes to life, barking like mad, watching the twitching corpse of the chicken, the blood spouting from the open neck.

I pick up the pencil again and I get back into it with Sandy, taking everything down, writing quickly, all the new information, progressing rapidly toward the end of the notebook. Amish guy, up from down county—how far away is down county?—down county is forty miles. Two catastrophe immigrants on the crew with him—Asian men, anyway—but you’re sure he was the boss—he was the boss. Concrete work—you asked him to do the coop in concrete—no, he suggested it, he knows concrete, the hell do we know …

My fingers gripping the pencil in the old familiar way, my heart doing the thing it does when I’m working, soaking up facts like a sponge, really gunning and going. Sandy’s eyes are wide and amused as I nod and nod and echo her words, circle back to get things right, breathing fast, experiencing a welcome burst of self-confidence, a belief in myself as possessing the instincts and the intelligence to do this work properly. Five years? Ten?

I realize that my eyes are closed, I’m thinking hard, and then I open them and find that Sandy is staring at me—no, not staring, gazing, looking me over with a kind of abstract interest, and for a brief strange second it’s like she can see into my skull, watch the thoughts in there rotating and spiraling and orbiting each other in patterns.

I clear my throat, cough slightly. There is a trickle of sweat running down her chest, disappearing into the space between her breasts.

“What was her name?” she says.

“Who?”

“The woman. Any woman. One of the women.”

I blush. I look at the floor, then back up at her. She had reminded me of Alison Koechner, but it’s Naomi that I say. I whisper the name—“Naomi.”

Sandy leans forward and kisses me, and I kiss her back, pressing myself against her, my excitement about the investigation rolling over, accelerating, transforming into that other big feeling, that exhilarating and terrifying feeling—not love, but the thing that feels like love—bodies rising to each other, nerve endings opening up and seeking each other—a feeling I know, even as it floods into my veins and my joints, that I will probably never feel again. Last time, for this. Sandy smells like cigarettes and beer. I kiss her hard for a long time and then we pull apart. The moon is up and full and bright, coming through the kitchen windows of the RV.

Billy is there. He’s watching in silence, holding the chicken
by the stump of its neck, the plump body rotating in his fist, steam rising from the hot dead animal. Billy’s taken off his apron and there is a slick of sweat on his neck and shoulder muscles, blood flecked on his bare chest, blood splattered along the hem of his underpants. He smells like charcoal and dirt.

“Billy,” I begin, and Sandy shivers slightly beside me, drunk or fearful, I don’t know. How absurd it’ll be if I just die here, right now, the end of the line, how ridiculous to die on day T-minus five from a shotgun blast in a lover’s triangle.

“Hang out another half an hour,” he says. “Eat more chicken.”

“No, thanks.”

“You sure?” he says. Sandy crosses the small space of the RV kitchen, hugs him around the waist, and he squeezes her back while he holds the chicken aloft. “I just gotta pluck him.”

I could stay, I really could. I think that they would have me. I could stake out a space in the dirt by the Highway Pirate, slump down low in it, and wait things out.

But no, that’s not—that’s not going to happen.

“Thank you. Really,” I say. New facts. New possibilities. “Thanks a lot.”

The way I figure it, if Cortez’s take on the spatial mechanics of the police station garage is correct, and that’s a thick wedge of concrete wiggled into that floor like a cork in a bottle, then they can’t have done it themselves. Someone was there after Nico and her gang went down, and presuming that everyone in the group descended together, then it was someone else—someone who was hired and paid for the gig, contracted to roll the seal across the tomb.

Thus I am aware of a concrete job that was recently performed in this area, and I am aware of a group of men who were out offering themselves for odd jobs generally, but specializing in concrete.

That’s enough. Away I go, rolling south on State Road 4 in the middle of the night.

“Twenty or thirty miles,” says Billy, “that’s where the Amish farms start to crop up, the fruit stands and that. You can’t miss it.” Houdini’s in the wagon and my fat Eveready is duct-taped between
the handlebars, sending a joggling uneven light down the highway ahead of us.

As I pedal I can picture Detective Culverson chuckling at me and my rookie logic. I can see him, across our booth at the Somerset Diner, looking at me with quiet amusement, rolling his cigar from one side of his mouth to the other. I can hear him poking at the holes in my theory like a loose tooth.

He asks his pointed questions in his mild voice, rolls his eyes at Ruth-Ann, the waitress, who joins him in teasing good old Hank Palace before bustling off for more coffee.

But the Somerset Diner finally closed, and Culverson and Ruth-Ann are back in Concord, and I have no other direction to point myself but forward, so here I go, State Road 4 due south toward “down county.” I let myself sleep in an empty rest stop, sleeping bag rolled out under a
YOU ARE HERE
map of the state of Ohio, alarm on the Casio set for five hours.

When Sandy asked for a name I said “Naomi” without thinking—even though Alison Koechner is the girl I loved the longest and Trish McConnell is the one I left behind, I said “Naomi” right away.

I think about her in the quiet moments, the moments created by the absence of television and radio and the bustle of normal human company, the moments not filled by investigatory reasoning or by the low churn of fear.

I met Naomi Eddes on a case and tried to protect her and couldn’t. One night together was what we got, that’s pretty much what it was: dinner at Mr. Chow’s, jasmine tea and lo mein noodles,
and then my house, and then that was it.

Sometimes, when I can’t help it, I imagine how things might otherwise have ended up for us. Possible futures surface like fish from deep water; like memories of things that never got to happen. We might one day have been one of those happy sitcom households, cheerfully chaotic, with the colorful alphabet magnets making bright nonsense words on the refrigerator, with the chores and yard work, getting the kids out the door in the morning. Murmuring conversations late at night, just the two of us left awake.

Not worth dwelling on.

It’s not just a person’s present that dies when they die, when they are murdered or drowned or a giant rock falls on their head. It’s the past, too, all the memories that belonged only to them, the things they thought and never said. And all those possible futures, all the ways that life might have turned out. Past and future and present all burn up together like a bundle of sticks.

Most likely scenario, though, all things being equal, had Maia never darkened the sky: I would have just ended up alone. Like Dectective Russel, clean desk, no pictures, notebook bent open, putting in the hours. Dutiful detective at forty, wise old department hand at sixty, docile old codger at eighty-five, still turning over cases that he worked years ago.

*  *  *

All the Amish roadside groceries look the same: creaking wooden bins, empty baskets. All of the fruits and vegetables, of course,
are long gone; ditto all the cakes and pies; all the Amish honey and Amish cheese and Amish pretzels.

For ten miles or so there are what feel like dozens of these places, and at each I get off the bike and check carefully for concrete work. In one place, slim round posts holding up the wood roof; in another place a set of handsome rounded steps leading from the racks outside to the little store. Over and over again I slide my aching body off the bike and kickstand it and get down on all fours to scour an abandoned farm stand, looking for a red stamp that bears the single word
JOY
. Over and over Houdini heaves himself out of the wagon and roots around next to me as if he knows what we’re looking for—the two of us together pushing past empty wicker shopping baskets and wads of thin discarded receipt paper.

A day of this. Almost a whole day of nothing, finding nothing, and then it’s late afternoon, and each time I get back on the bike I think maybe that’s it, maybe I can’t go any farther, but I can’t go back, what if I go back with nothing? My body is aching, and I’m starving, the chicken meals are a distant memory, and all the faded signs for pie and pretzels are not helping in the least.

“Okay,” I say to Houdini, at the sixth or eighth or hundredth of these little abandoned useless roadside stands. “Okay, now what?” There’s Cortez, back in Rotary, waiting impatiently, sitting cross-legged atop the secret door:
Well?
There’s Detective Culverson, at the Somerset of blessed memory, puffing wryly on his cigar.
I don’t want to say I told you so, Stretch
.

Except then there it is—a quarter mile farther down State Road 4, with just enough daylight left to see it—there it is. Not
stamped on a post in the dirt after all, or at the base of a step, but above my head, written on a billboard, right up there in red letters literally ten feet tall.
JOY FARMS
.

And then, below it, in slightly smaller letters:
CLOSED AND DESERTED
. And below that:
JESUS = SALVATION
.

There’s another of the farm stands just beneath the sign, and a few minutes of investigation reveals a narrow byroad leading perpendicularly off into the cornfields behind it. I pause, looking back and forth between the sign and the road, and then I just grin, grin until my cheeks tighten, just to feel what it feels like, just for a second. And then I aim the bike down the byroad.