"No, Lee-Lee, I never-"
The sound of another blow, and then a hoarse expectoration that was neither male nor female. Retching. Tomorrow, whoever cleaned these restrooms would find vomit drying on the floor and one of the tiled walls in the women's, but Lee and his wife or girlfriend would be long departed, and to the cleaner it would be just another mess to clean up, the story of the puke both unclear and uninteresting, and what was Dykstra supposed to do? Jesus, did he have the sack to go in there? If he didn't, Lee might finish beating her up and call it good, but if a stranger interfered-
He could kill both of us.
But...
The baby. Please don't hurt the baby.
Dykstra clenched his fists and thought, Fucking Lifetime Channel!
The woman was still retching.
"Stop that, Ellen."
"I can't!"
"No? Okay, good. I'll stop it for you. Fuckin'...hoor."
Another whap! punctuated hoor. Dykstra's heart sank even lower. He would not have thought it possible. Soon it would be beating in his belly. If only he could channel the Dog! In a story it would work-he'd even been thinking about identity before making the evening's great mistake of turning into this rest area, and if that wasn't what the writing manuals called foreshadowing, then what was?
Yes, he would turn into his hit man, stride into the women's room, beat the living shit out of Lee, then go on his way. Like Shane in that old movie with Alan Ladd.
The woman retched again, the sound of a machine turning stones into gravel, and Dykstra knew he wasn't going to channel the Dog. The Dog was make-believe. This was reality, rolling out right here in front of him like a drunk's tongue.
"Do it again and see what it gets you," Lee invited, and now there was something deadly in his voice. He was getting ready to go all the way. Dykstra was sure of it.
I'll testify in court. And when they ask me what I did to stop it, I'll say nothing. I'll say that I listened. That I remembered. That I was a witness. And then I will explain that that is what writers do when they're not actually writing.
Dykstra thought of running back to his Jag-quietly!-and using the phone in the console to call the state police. *99 was all it took. The signs saying so were posted every ten miles or so: IN CASE OF ACCIDENT DIAL *99 ON CELLULAR. Except there was never a cop around when you needed one. The closest tonight would turn out to be in Bradenton or maybe Ybor City, and by the time the trooper got here, this little red rodeo would be over.
From the women's room there now came a series of thick hiccuping sounds, interspersed with low gagging noises. One of the stall doors banged. The woman knew that Lee meant it just as surely as Dykstra knew it. Just vomiting again would likely be enough to set him off. He would go crazy on her and finish the job. And if they caught him? Sec ond degree. No premeditation. He could be out in fifteen months and dating this one's kid sister.
Go back to your car, John. Go back to your car, get in behind the wheel, and drive away from here. Start working on the idea that this never happened. And make sure you don't read the paper or watch the TV news for the next couple of days. That'll help. Do it. Do it now. You're a writer, not a fighter. You stand five-nine, you weigh 162 pounds, you've got a bad shoulder, and the only thing you can do here is make things worse. So get back in your car and send up a little prayer to whatever God looks out for women like Ellen.
And he actually turned away before an idea occurred to him.
The Dog wasn't real, but Rick Hardin was.
Ellen Whitlow of Nokomis had fallen into one of the toilets and landed on the hopper with her legs spread and her skirt up, just like the hoor she was, and Lee started in there after her, meaning to grab her by the ears and start slamming her dumb head against the tiles. He'd had enough. He was going to teach her a lesson she'd never forget.
Not that these thoughts went through his mind in any coherent fashion. What was in his mind now was mostly red. Under it, over it, seeping through it was a chanting voice that sounded like Steven Tyler of Aerosmith: Ain't my baby anyway, ain't mine, ain't mine, you ain't pinning it on me, you f**kin' hoor.
He took three steps, and that was when a car horn began to blat rhythmically somewhere close by, spoiling his own rhythm, spoiling his concentration, taking him out of his head, making him look around: Bamp! Bamp! Bamp! Bamp!
Car alarm, he thought, and looked from the entrance to the women's room back to the woman sitting in the stall. From the door to the hoor. His fists began to clench in indecision. Suddenly he pointed at her with his right index finger, the nail long and dirty.