Stephen King: Big Driver

“Please,” she said. “Oh please, no more.”

“Lots more,” he said, and here came that fist again, filling her field of vision. The side of her face went hot, there was a click in the middle of her head, and she blacked out.

The next time she came to, he was dancing around her in his overalls, tossing his hands from side to side and singing “Brown Sugar” in a squalling, atonal voice. The sun was going down, and the abandoned store’s two west-facing windows—the glass dusty but miraculously unbroken by vandals—were filled with fire. His shadow danced behind him, capering down the board floor and up the wall, which was marked with light squares where advertising signs had once hung. The sound of his cludding workboots was apocalyptic.

She could see her dress slacks crumpled under the counter where the cash register must once have stood (probably next to a jar of boiled eggs and another of pickled pigs’ feet). She could smell mold. And oh God she hurt. Her face, her chest, most of all down below, where she felt torn open.

Pretend you’re dead. It’s your only chance.

She closed her eyes. The singing stopped and she smelled approaching mansweat. Sharper now.

Because he’s been exercising, she thought. She forgot about playing dead and tried to scream. Before she could, his huge hands gripped her throat and began to choke. She thought: It’s over. I’m over . They were calm thoughts, full of relief. At least there would be no more pain, no more waking to watch the monster-man dance in the burning sunset light.

She passed out.

When Tess swam back to consciousness the third time, the world had turned black and silver and she was floating.

This is what it’s like to be dead.

Then she registered hands beneath her—big hands, his hands—and the barbwire circlet of pain around her throat. He hadn’t choked her quite enough to kill her, but she was wearing the shape of his hands like a necklace, palms in front, fingers on the sides and the nape of her neck.

It was night. The moon was up. A full moon. He was carrying her across the parking lot of the deserted store. He was carrying her past his truck. She didn’t see her Expedition. Her Expedition was gone.

Wherefore art thou, Tom?

He stopped at the edge of the road. She could smell his sweat and feel the rise and fall of his chest. She could feel the night air, cool on her bare legs. She could hear the sign ticking behind her, YOU LIKE IT IT LIKES YOU.

Does he think I’m dead? He can’t think I’m dead. I’m still bleeding.

Or was she? It was hard to tell for sure. She lay limp in his arms, feeling like a girl in a horror movie, the one who’s carried away by Jason or Michael or Freddy or whatever his name was after all the other ones are slaughtered. Carried to some slumpy deep-woods lair where she would be chained to a hook in the ceiling. In those movies there were always chains and hooks in the ceiling.

He got moving again. She could hear his work-shoes on the patched tar of Stagg Road: clud-clump-clud . Then, on the far side, scraping noises and clattering sounds. He was kicking away the chunks of wood she had so carefully cleaned up and thrown down here in the ditch. She could no longer hear the ticking sign, but she could hear running water. Not much, not a gush, only a trickle. He knelt down. A soft grunt escaped him.

Now he’ll kill me for sure. And at least I won’t have to listen to any more of his awful singing. It’s the beauty part, Ramona Norville would say .

“Hey girl,” he said in a kindly voice.

She didn’t reply, but she could see him bending over her, looking into her half-lidded eyes. She took great care to keep them still. If he saw them move, even a little… or a gleam of tears…

“Hey.” He popped the flat of his hand against her cheek. She let her head roll to the side.

“Hey!” This time he outright slapped her, but on the other cheek. Tess let her head roll back the other way.

He pinched her nipple, but he hadn’t bothered to take off her blouse and bra and it didn’t hurt too badly. She lay limp.

“I’m sorry I called you a bitch,” he said, still using the kindly voice. “You was a good fuck. And I like em a little older.”

Tess realized he really might think she was dead. It was amazing, but could be true. And all at once she wanted very badly to live.

He picked her up again. The mansweat smell was suddenly overwhelming. Beard bristles tickled the side of her face, and it was all she could do not to twitch away from them. He kissed the corner of her mouth.

“Sorry I was a little rough.”

Then he was moving her again. The sound of the running water got louder. The moonlight was blotted out. There was a smell—no, a stench—of rotting leaves. He put her down in four or five inches of water. It was very cold, and she almost cried out. He pushed on her feet and she let her knees go up. Boneless, she thought. Have to stay boneless. They didn’t go far before bumping against a corrugated metal surface.

“Fuck,” he said, speaking in a reflective tone. Then he shoved her.

Tess remained limp even when something—a branch—scrawled a line of hurt down the center of her back. Her knees bumped along the corrugations above her. Her buttocks pushed a spongy mass, and the smell of rotting vegetable matter intensified. It was as thick as meat. She felt a terrible urge to cough the smell away. She could feel a mat of wet leaves gathering in the small of her back, like a throw-pillow soaked with water.

If he figures it out now, I’ll fight him. I’ll kick him and kick him and kick him—

But nothing happened. For a long time she was afraid to open her eyes any wider or move them in the slightest. She imagined him crouching there, looking into the pipe where he’d stashed her, head to one side, tilting a question, waiting for just such a move. How could he not know she was alive? Surely he’d felt the thump of her heart. And what good would kicking be against the giant from the pickup? He’d grab her bare feet in one hand, haul her out, and recommence choking her. Only this time he wouldn’t stop.

She lay in the rotting leaves and sluggish water, looking up at nothing from her half-lidded eyes, concentrating on playing dead. She passed into a gray fugue that was not quite unconsciousness, and there she stayed for a length of time that felt long but probably wasn’t. When she heard a motor—his truck, surely his truck—Tess thought: I’m imagining that sound. Or dreaming it. He’s still here.

But the irregular thump of the motor first swelled, then faded off down Stagg Road.

It’s a trick .

That was almost certainly hysteria. Even if it wasn’t, she couldn’t stay here all night. And when she raised her head (wincing at the stab of pain in her abused throat) and looked toward the mouth of the pipe, she saw only an unimpeded silver circle of moonlight. Tess started wriggling toward it, then stopped.

It’s a trick. I don’t care what you heard, he’s still here.

This time the idea was more powerful. Seeing nothing at the mouth of the culvert made it more powerful. In a suspense novel, this would be the moment of false relaxation before the big climax. Or in a scary movie. The white hand emerging from the lake in Deliverance . Alan Arkin springing out at Audrey Hepburn in Wait Until Dark . She didn’t like scary books and movies, but being raped and almost murdered seemed to have unlocked a whole vault of scary-movie memories, all the same. As if they were just there, in the air.