Roadwork. Part 31

He laughed. "Say, that's not bad. I'm going to use that in my story."

"Fine. When you go back out, tell all the policemen that they better move away. "

"Are you going to blow yourself up?" Albert asked. He looked interested, nothing more.

"I am contemplating it. "

"You know what, fellow? You've seen too many movies. "

"I don't go to the movies much anymore. I did see The Exorcist, The Exorcist, though. I wish I hadn't. How are your movie guys coming out there?" though. I wish I hadn't. How are your movie guys coming out there?"

Albert peered out the window. "Pretty good. We've got another minute. Your name is Dawes?"

"Did they tell you that?"

Albert laughed contemptuously. "They wouldn't tell me if I had cancer. I read it on the doorbell. Would you mind telling me why you're doing all this?"

"Not at all. It's roadwork."

"The extension?" Albert's eyes glowed brighter. He began to scribble in his book.

"Yes, that's right. "

"They took your house?"

"They tried. I'm going to take it."

Albert wrote it down, then snapped his book closed and stuffed it into his back pocket again. "That's pretty stupid, Mr. Dawes. Do you mind my saying that? Why don't you just come out of here with me?"

"You've got an exclusive," he said tiredly. "What are you trying for, the Pulitzer Prize?"

"I'd take it if they offered it." He smiled brightly and then sobered. "Come on, Mr. Dawes. Come on out. I'll see that your side gets told. I'll see-"

"There is no side."

Albert frowned. "What was that?"

"I have no side. That's why I'm doing this." He peered over the chair and looked into a telephoto lens, mounted on a tripod that was sunk into the snow of the Quinns' lawn. "Go on now. Tell them to go away."

"Are you really going to pull the string?"

"I really don't know."

Albert walked to the living nom door and then turned around. "Do I know you from somewhere? Why do I keep feeling like I know you?"

He shook his head. He thought he had never seen Albert before in his life.

Watching the newsman walk back across his lawn, slightly at an angle so the camera across the street would get his good side, he wondered what Olivia was doing at that precise second.

He waited fifteen minutes. Their fire had intensified, but no one charged at the back of the house. The main purpose of the fire seemed to be to cover their retreat into the houses across the street. The camera crew remained where it was for a while, grinding impa.s.sively away, and then the white Econoline van drove up onto the Quinns' side lawn and the man behind the camera folded the tripod, took it behind the truck, and began to film again.

Something black and tubular whizzed through the air, landed on his lawn about midway between the house and the sidewalk, and began to spurt gas. The wind caught it and carried it off down the street in tattered rifts. A second sh.e.l.l landed short, and then he heard one dunk on the roof. He caught a whiff of that one as it fell into the snow covering Mary's begonias. His nose and eyes filled with crocodile tears.

He scurried across the living room on his hands and knees again, hoping to G.o.d he had said nothing to that newsman, Albert, that could be misconstrued as profound. There was no good place to make your stand in the world. Look at Johnny Walker, dying in a meaningless intersection smashup. What had he died for, so that the sheets could go through? Or that woman in the supermarket. The f.u.c.king you got was never worth the s.c.r.e.w.i.n.g you took.

He turned on the stereo and the stereo still worked. The Rolling Stones alb.u.m was still on the turntable and he put on the last cut, missing the right groove the first time when a bullet smacked into the quilt covering the Zenith TV with a thud.

When he had it right, the last bars of "Monkey Man" fading into nothingness, he scurried back to the overturned chair and threw the rifle out the window. He picked up the Magnum and threw that out after it. Good-bye, Nick Adams.

"You can't always get what you want," the stereo sang, and he knew that to be a fact. But that didn't stop you from wanting it. A tear gas canister arched through the window, struck the wall over the couch, and exploded in white smoke.

"But if you try something, you might find, You get what you need. "

Well, let's just see, Fred. He grasped the red alligator clip in his hand. Let's see if I get what I need.

"Okay," he muttered, and jammed the red clip on the negative pole of the battery.

He closed his eyes and his last thought was that the world was not exploding around him but inside him, and while the explosion was cataclysmic, it was not larger than, say, a good-sized walnut.

Then white.

Epilogue.

The WHLM newsteam won a Pultizer Prize for their coverage of what they called "Dawes' Last Stand" on the evening news, and for a half-hour doc.u.mentary presented three weeks later. The doc.u.mentary was called "Roadwork" and it examined the necessity-or lack of it-for the 784 extension. The doc.u.mentary pointed out that one reason the road was being built had nothing to do with traffic patterns or commuter convenience or anything else of such a practical sort. The munic.i.p.ality had to build so many miles of road per year or begin losing federal money on all interstate construction. And so the city had chosen to build. The doc.u.mentary also pointed out that the city was quietly beginning a litigation against the widow of Barton George Dawes to recover as much of their money as was recoverable. In the wake of the outcry the city dropped its suit.

Still photographs of the wreckage ran on the AP wire and most of the newspapers in the country carried them. In Las Vegas, a young girl who had only recently enrolled in a business school saw the photographs while on her lunch hour and fainted.

Despite the pictures and the words, the extension went ahead and was completed eighteen months later, ahead of schedule. By that time most of the people in the city had forgotten the "Roadwork" doc.u.mentary, and the city's news force, including Pulitzer winner David Albert, had gone on to other stories and crusades. But few people who had been watching the original newsclip broadcast on the evening news ever forgot that; they remembered even after the facts surrounding it grew blurry in their minds.

That news clip showed a plain white suburban house, sort of a ranch house with an asphalt driveway to the right leading to a one-car garage. A nice-looking house, but totally ordinary. Not a house you'd crane to look at if you happened to be on a Sunday drive. But in the news footage the picture window is shattered. Two guns, a rifle and a pistol, come flying out of it to lie in the snow. For one second you see the hand that has flung them, the fingers held limply up like the hand of a drowning man. You see white smoke blowing around the house, Mace or teargas or something. And then there is a huge belch of orange flame and all the walls of the house seem to bulge out in an impossible cartoon convexity and there is a huge detonation and the camera shakes a little, as if in horror. Peripherally the viewer is aware that the garage has been destroyed in a single ripping blast. For a second it seems (and slow motion replays prove that the eye's split-second impression is correct) that the roof of the house has lifted off its eaves like a Saturn rocket. Then the entire house blows outward and upward, s.h.i.+ngles flying, hunks of wood lofted into the air and then returning to earth, something that looks like a quilt twisting lazily in the air like a magic carpet as debris rattle to the ground in a thudding, contrapuntal drum roll.

There is stillness.

Then the shocked, tear-streaming face of Mary Dawes fills the screen; she is looking with drugged and horrified bewilderment at the forest of microphones being thrust into her face, and we have been brought safely back to human things once more.