With a cheerful heart, Wendell poodles down the highway at fifty miles per hour, letting the bikers race far ahead of him without ever letting them pass out of sight. The number of cars coming toward him thins out to widely spaced groups of two and three, then to a few single cars, then to nothing. As if they have been waiting to be unobserved, Beezer and his friends swerve across the highway and go blasting up the driveway to Goltz's space-age dome.
Wendell feels an unwelcome trickle of self-doubt, but he is not about to assume that Beezer and his louts have a sudden yearning for tractor hitches and riding lawn mowers. He speeds up, wondering if they have spotted him and are trying to throw him off their trail. As far as he knows, there is nothing up on that rise except the showroom, the maintenance garage, and the parking lot. Damn place looks like a wasteland. Beyond the parking lot . . . what? On one side, he remembers a scrubby field stretching away to the horizon, on the other a bunch of trees, like a forest, only not as thick. He can see the trees from where he is now, running downhill like a windbreak.
Without bothering to signal, he speeds across the oncoming lanes and into Goltz's driveway. The sound of the motorcycles is still audible but growing softer, and Wendell experiences a jolt of fear that they have somehow tricked him and are getting away, jeering at him! At the top of the rise, he zooms around the front of the showroom and drives into the big lot. Two huge yellow tractors stand in front of the equipment garage, but his is the only car in sight. At the far end of the empty lot, a low concrete wall rises to bumper height between the asphalt and the meadow bordered by trees. On the other side of the tree line, the wall ends at the swoop of asphalt drive coming around from the back of the showroom.
Wendell cranks the wheel and speeds toward the far end of the wall. He can still hear the motorcycles, but they sound like a distant swarm of bees. They must be about a half mile away, Wendell thinks, and jumps out of the Toyota. He jams the cassette recorder in a jacket pocket, slings the Nikon on its strap around his neck, and runs around the low wall and into the meadow. Even before he reaches the tree line, he can see the remains of an old macadam road, broken and overgrown, cutting downhill between the trees.
Wendell imagines, overestimating, that Ed's old place is about a mile distant, and he wonders if his car could go the distance on this rough, uneven surface. In some places, the macadam has fissured into tectonic plates; in others, it has crumbled away to black gravel. Sinkholes and weedy rills radiate out from the thick, snaking roots of the trees. A biker could jounce over this mess reasonably well, but Wendell sees that his legs will manage the journey better than his Toyota, so he sets off down the old track through the trees. From what he took in while he was on the highway, he still has plenty of time before the medical examiner and the evidence wagon show up. Even with the help of the famous Hollywood Sawyer, the local cops are mooning around in a daze.
The sound of motorcycles grows louder as Wendell picks his way along, as if the boys stopped moving in order to talk things over when they came to the far end of the old back road. That's perfect. Wendell hopes they will keep jawing until he has nearly caught up with them; he hopes they are shouting at one another and waving their fists in the air. He wants to see them cranked to the gills on rage and adrenaline, plus God knows what else those savages might have in their saddlebags. Wendell would love to get a photograph of Beezer St. Pierre knocking out Dale Gilbertson's front teeth with a well-aimed right, or putting the choke hold on his buddy Sawyer. The photograph Wendell wants most, however, and for the sake of which he is prepared to bribe every cop, county functionary, state official, or innocent bystander capable of holding out his hand, is a good, clean, dramatic picture of Irma Freneau's naked corpse. Preferably one that leaves no doubt about the Fisherman's depredations, whatever they were. Two would be ideal — one of her face for poignancy, the other a full-body shot for the perverts — but he will settle for the body shot if he has to. An image like that would go around the world, generating millions as it went. The National Enquirer alone would fork over, what — two hundred thousand, three? — for a photo of poor little Irma sprawled out in death, mutilations clearly visible. Talk about your gold mines, talk about your Big Kahunas!