Ghost Story (50 page)

For a second he had a mad impulse to do just that, floor the accelerator and sail down the fifty yards to the bottom of the hill and then smash the Lincoln through the snow, crashing through it around Omar on his slow-motion throne and exploded out of the big drift onto the highway—it was as if Elmer were telling him to do it.
Get that car moving, Mr. James, I need you bad—

Sears blew his horn, mashing his hand down on the button, Omar turned around to gape at him: when he saw the Lincoln, he jabbed one finger in the air, and through the glass behind the cab Sears saw him weave on the seat, his face covered with a snow-crusted ski mask, and knew two things at once. Omar was drunk and half-dead with exhaustion; and he was yelling at him, telling him to turn around and not come down the hill. The Lincoln's tires would never hold on the slope.

Elmer's dogged, wheedling voice had kept him from seeing it.

The Lincoln, idling, rolled a few inches down the long hill. Omar switched off the plow and stood up half-out of the cab, supporting himself on one of the struts to the blade. He held a hand out palm-forward like a traffic cop. Sears stamped on his brake pedal, and the Lincoln shuddered on the slippery plowed surface. Omar was making circular motions with his free hand, telling him to turn around or back up.

Sears's car lurched another six inches down the slope and he grabbed for the handbrake, no longer thinking of how to handle the car but just trying to stop it. He heard Elmer saying
Sears—need—need—
that dogged, high-pitched voice urging the car forward.

And then saw Lewis Benedikt at the bottom of the hill running toward him, waving his arms to make him stop, a khaki jacket flapping out behind him, his hair blowing.

—need—need—

Sears released the handbrake and pushed his foot down on the accelerator. The Lincoln skidded forward, its rear tires whining, and plummeted down the long hill, fishtailing from side to side. Behind Lewis's running figure, Sears saw a blurry Omar Norris standing stock-still on the snowplow.

Traveling at seventy-five miles an hour, the Lincoln sliced through the figure of Lewis Benedikt; Sears opened his mouth and shouted, twisting the wheel savagely to the left. The Lincoln spun three fourths of the way around and jolted the snowplow with its right rear fender before plunging into the huge curling drift.

His eyes closed, Sears heard the mushy, sickening thud of a heavy object striking the windshield: a moment later he felt the atmosphere about him become thicker: in the next endless second the car crumped to a stop as if he'd hit a wall.

He opened his eyes and saw he was in darkness. Sears's head stung where he had struck it in the crash. He put one hand to a temple and felt blood; with the other he switched on the interior lights. Omar Norris's masked face, jammed against the windshield, peered with an empty eye in at the passenger seat. Five feet of snow held the car like cement

"Now, little brother," said a deep voice from the back of the car.

A small hand, earth embedded under its nails, reached forward to brush against Sears's cheek.

Disgust for these obscene beings kindled up in him. He would not die passively at their hands. Sears threw himself forward and grunted, aiming the only punch he had thrown in sixty years: it caught Gregory Bate's cheekbone and slid, tearing the flesh, into a damp, reeking softness. Glistening fluid slid over the torn cheek.

"So you can be hurt," Sears said. "By God, you can."

Snarling, they flew at him.

"You know where you can put this job," Hardesty said, and belched. "You can shove it. Hear me, Hawthorne?"

"I hear you, Walt." Ricky sat on the couch and glanced over at Stella, whose face was averted into her cupped hands. Mourning already, he thought, mourning because she let him go alone, because she sent him out of here without a blessing, without even thanks. Don Wanderley squatted on the floor beside Stella's chair and put an arm over her shoulders.

"Yeah, you hear me. Well, listen. I used to be a Marine, you know what, lawyer? Korea. Had three stripes, hear that?" A loud crash: Hardesty had fallen into a chair or knocked over a lamp. Ricky did not answer. "Three goddamned stripes. A leatherneck. You could call me a goddamned hero, I don't mind. Well, I didn't need you to tell me to go out to that farm. Neighbor went in there around eleven—found 'em all. Scales killed 'em all. Shot 'em. And afterward laid down under his goddamned tree and blew his head apart. State cops took all the bodies away in a helicopter. Now you tell me why he did it, lawyer. And you tell me how you knew something happened out there."

"Because I once borrowed his father's car," Ricky said. "I know it doesn't make sense, Walt."

Don looked up at him from beside Stella, but she merely pushed her face deeper into her hands.

"Doesn't make—shit. Beautiful. Well, you can find a new sheriff for this town. I'm clearin' out as soon as the county plows get in. I can go anywhere—record like mine. Anywhere? Not because of out there—not because of Scales's little massacre. You and your rich-bitch friends been sittin' on something all along—
all along
—and whatever it is
does
things—meaner'n a stirred-up hog. Right? It got into Scales's place, didn't it? Got into his
head.
Can go anywhere, can't it? And who called all this down on us, hey Mr. Lawyer? You. Hey?"

Ricky said nothing.

"You can call it Anna Mostyn, but that's just sheer plain lawyer's crap. Goddamn it, I always thought you were an asshole, Hawthorne. But I'm tellin' you now, anything shows up around here with ideas about moving me around, I'm gonna blow it in half. You and your buddies got all the fancy ideas, if you got any buddies left, you can take care of things around here. I'm stayin' in here until the roads get clear, sent the deputies home, anybody comes around here I shoot first. Questions later. Then I get out."

"What about Sears?" Ricky asked, knowing that Hardesty would not tell him until he asked. "Has anyone seen Sears?"

"Oh, Sears
James.
Yeah. Funny about that. State cops found him too. Saw his car half-buried in a drift, bottom of Underhill Road, snowplow all fucked over ... you can bury him whenever the hell you want, little buddy. If everybody in this goddamned freakshow town doesn't end up cut to pieces or sucked out dry or blown in half. Ooof." Another belch, "I'm pig-drunk, lawyer. Gonna stay that way. Then I cut outa here. To hell with you and everything about you." He hung up.

Ricky said, "Hardesty's lost his mind and Sears is dead." Stella began to weep; soon he and she and Don were in a circle, arms around each other for that primitive consolation. "I'm the only one left," Ricky said into his wife's shoulder. "My God, Stella. I'm the only one left."

Eventually the town heard about Sheriff Hardesty: how he was holed up in his office with all those bodies waiting in the utility cells. Two of the Pegram boys had snowmobiles, and they coasted up the door of the sheriff's office to check him out—see if he was as nutty as the rumor said. A whiskery face jammed itself up against the window as they climbed off the snowmobiles: Hardesty lifted his pistol so the boys could see it and shouted through the glass that if they didn't pull off those damn ski masks and show their faces they wouldn't have any faces left. Most people knew someone who had a friend who'd had to go past the sheriff's office and swore that he heard Hardesty shouting in there, yelling at nothing or at himself—or at whatever it was that could move freely around Milburn in this weather, sliding in and out of their dreams, exulting in shadows whenever they'd just turned their heads: whatever it was that could account for that music some of them had heard around midnight on Christmas night— inexplicable music that should have sounded joyful but was instead wound full of the darkest emotions they knew. They pushed their heads into their pillows and told themselves it was a radio or a trick of the wind— they'd tell themselves anything rather than believe that something was out there that could make a noise so fearsome.

Peter Barnes got out of bed that night, having heard the music and imagining that this time the Bate brothers and Anna Mostyn and Don's Dr. Rabbitfoot were making a special trip to get him. (But there was another cause, he knew.) He locked his door and climbed back into bed and pushed his hands down on his ears; but the wild music got louder, coming down his street, and louder still.

It stopped directly in front of his house: sliced off in the middle of a bar, as if a button on a tape recorder had been pushed. The silence was more charged with possibilities than the music had been. Finally Peter could stand the tension no longer, and softly left his bed and looked out of his window onto the street.

Down there, down where he had once seen his father marching off to work looking dumpy and Russian, stood a line of people in bright moonlight. Nothing could stop him from recognizing the figures standing on the fresh snow where the road should have been. They stood gazing up at him with shadowed eyes and open mouths, the town's dead, and he would never know if they stood there only in his mind or if Gregory Bate and his benefactor had stirred these facsimiles and made them move: or if Hardesty's jail and a half-dozen graves had opened to let their inhabitants walk. He saw Jim Hardie staring up at his window, and the insurance salesman Freddy Robinson, and old Dr. Jaffrey and Lewis Benedikt, and Harlan Bautz—he had died while shoveling snow. Omar Norris and Sears James were beside the dentist. Peter's heart moved to see Sears— he'd known that was why the music had sounded again. A girl stepped out from behind Sears, and Peter blinked to see Penny Draeger, her once-exciting face as blank and dead as all the others. A small group of children stood mutely beside a tall scarecrow with a shotgun, and Peter nodded, mouthing the word "Scales" to himself: he had not known. Then the crowd divided to let his mother come forward.

She was not the lifelike ghost he had seen in the Bay Tree Market's parking lot: like the others, his mother was washed of life, too empty even for despair. She seemed animated only by need—need at a level beneath all feeling. Foreshortened by his angle of vision, Christina came forward over the snow to the boundary of their property; she extended her arms up to him and her mouth moved. He knew that no human words could have issued from that mouth, from that driven body— it must have been only a moan or a cry. She, they, all were asking him to come out: or were they pleading for surcease, for sleep? Peter began to cry. They were eerie, not frightening. Standing out there below his window, so pitiably drained, they were as if merely dreamed. The Bates and their benefactor had sent them, but it was him they needed. The tears cold on his cheeks, Peter turned away from the window; so many, so many, so many.

Face up, he lay back on his bed; stared with open eyes at the ceiling. He knew they would go: or would he look out in the morning to see them all still there, frozen into place like snowmen? But the music blared into life again, suddenly as present as a bright slash of red, and yes, they would be drifting away, following Dr. Rabbitfoot's bright tempo.