Stephen King - End of Watch

‘Izzy doesn’t. Izzy just thinks that it’s time you stop letting the bee known as Brady Hartsfield buzz around in your bonnet.’

She switches those misty gray eyes to Hodges.

‘Ms Gibney there may be a bundle of nervous tics and strange associations, but she stopped Hartsfield’s clock most righteously, and I give her full credit for it. He’s zonked out in that brain trauma clinic at Kiner, where he’ll probably stay until he catches pneumonia and dies, thereby saving the state a whole potful of money. He’s never going to stand trial for what he did, we all know that. You didn’t catch him for the City Center thing, but Gibney stopped him from blowing up two thousand kids at Mingo Auditorium a year later. You guys need to accept that. Call it a win and move on.’

‘Whew,’ Pete says. ‘How long have you been holding that in?’

Izzy tries not to smile, but can’t help it. Pete smiles in return, and Hodges thinks, They work as well together as Pete and I did. Shame to break up that combination. It really is.

‘Quite awhile,’ Izzy says. ‘Now go on and tell him.’ She turns to Hodges. ‘At least it’s not little gray men from The X-Files .’

‘So?’ Hodges asks.

‘Keith Frias and Krista Countryman,’ Pete says. ‘Both were also at City Center on the morning of April tenth, when Hartsfield did his thing. Frias, age nineteen, lost most of his arm, plus suffered four broken ribs and internal injuries. He also lost seventy percent of the vision in his right eye. Countryman, age twenty-one, suffered broken ribs, a broken arm, and spinal injuries that resolved after all sorts of painful therapy I don’t even want to think about.’

Hodges doesn’t, either, but he’s brooded over Brady Hartsfield’s victims many times. Mostly on how the work of seventy wicked seconds could change the lives of so many for years… or, in the case of Martine Stover, forever.

‘They met in weekly therapy sessions at a place called Recovery Is You, and fell in love. They were getting better… slowly… and planned to get married. Then, in February of last year, they committed suicide together. In the words of some old punk song or other, they took a lot of pills and they died.’

This makes Hodges think of the grinder on the table beside Stover’s hospital bed. The grinder with its residue of oxycodone. Mom dissolved all of the oxy in the vodka, but there must have been plenty of other narcotic medications on that table. Why had she gone to all the trouble of the plastic bag and the helium when she could have swallowed a bunch of Vicodin, chased it with a bunch of Valium, and called it good?

‘Frias and Countryman were the sort of youngster suicides that also happen every day,’ Izzy says. ‘The parents were doubtful about the marriage. Wanted them to wait. And they could hardly run off together, could they? Frias could barely walk, and neither of them had jobs. There was enough insurance to pay for the weekly therapy sessions and to kick in for groceries at their respective homes, but nothing like the kind of Cadillac coverage Martine Stover had. Bottom line, shit happens. You can’t even call it a coincidence. Badly hurt people get depressed, and sometimes depressed people kill themselves.’

‘Where did they do it?’

‘The Frias boy’s bedroom,’ Pete says. ‘While his parents were on a day trip to Six Flags with his little brother. They took the pills, crawled into the sack, and died in each other’s arms, just like Romeo and Juliet.’

‘Romeo and Juliet died in a tomb,’ Holly says, coming back into the kitchen. ‘In the Franco Zeffirelli film, which is really the best—’

‘Yes, okay, point taken,’ Pete says. ‘Tomb, bedroom, at least they rhyme.’

Holly is holding the Inside View that was on the coffee table, folded to show a picture of Johnny Depp that makes him look either drunk, stoned, or dead. Has she been in the living room, reading a scandal sheet all this time? If so, she really is having an off day.

Pete says, ‘Have you still got the Mercedes, Holly? The one Hartsfield stole from your cousin Olivia?’

‘No.’ Holly sits down with the folded newspaper in her lap and her knees primly together. ‘I traded it last November for a Prius like Bill’s. It used a great deal of gas and was not eco-friendly. Also, my therapist recommended it. She said that after a year and a half, I had surely exorcised its hold over me, and its therapeutic value was gone. Why are you interested in that?’

Pete sits forward in his chair and clasps his hands together between his spread knees. ‘Hartsfield got into that Mercedes by using an electronic gizmo to unlock the doors. Her spare key was in the glove compartment. Maybe he knew it was there, or maybe the slaughter at City Center was a crime of opportunity. We’ll never know for sure.’

And Olivia Trelawney, Hodges thinks, was a lot like her cousin Holly: nervy, defensive, most definitely not a social animal. Far from stupid, but hard to like. We were sure she left her Mercedes unlocked with the key in the ignition, because that was the simplest explanation. And because, on some primitive level where logical thinking has no power, we wanted that to be the explanation. She was a pain in the ass. We saw her repeated denials as a haughty refusal to take responsibility for her own carelessness. The key in her purse, the one she showed us? We assumed that was just her spare. We hounded her, and when the press got her name, they hounded her. Eventually, she started to believe she’d done what we believed she’d done: enabled a monster with mass murder on his mind. None of us considered the idea that a computer geek might have cobbled together that unlocking gizmo. Including Olivia Trelawney herself.

‘But we weren’t the only ones who hounded her.’

Hodges is unaware that he’s spoken aloud until they all turn to look at him. Holly gives him a small nod, as if they have been following the exact same train of thought. Which wouldn’t be all that surprising.

Hodges goes on. ‘It’s true that we never believed her, no matter how many times she told us she took her key and locked her car, so we bear part of the responsibility for what she did, but Hartsfield went after her with malice aforethought. That’s what you’re driving at, isn’t it?’

‘Yes,’ Pete says. ‘He wasn’t content with stealing her Mercedes and using it as a murder weapon. He got inside her head, even bugged her computer with an audio program full of screams and accusations. And then there’s you, Kermit.’

Yes. There was him.

Hodges had received an anonymous poison pen letter from Hartsfield when he was at an absolute low point, living in an empty house, sleeping badly, seeing almost no one except Jerome Robinson, the kid who cut his grass and did general repairs around the place. Suffering from a common malady in career cops: end-of-watch depression.

Retired police have an extremely high suicide rate , Brady Hartsfield had written. This was before they began communicating by the twenty-first century’s preferred method, the Internet. I wouldn’t want you to start thinking about your gun. But you are thinking about it, aren’t you? It was as if Hartsfield had sniffed out Hodges’s thoughts of suicide and tried to push him over the edge. It had worked with Olivia Trelawney, after all, and he’d gotten a taste for it.

‘When I first started working with you,’ Pete says, ‘you told me repeat criminals were sort of like Turkish rugs. Do you remember that?’

‘Yes.’ It was a theory Hodges had expounded to a great many cops. Few listened, and judging by her bored expression, he guessed Isabelle Jaynes would have been one of those who did not. Pete had.