“Maybe I shouldn’t risk the money,” he said.
He wasn’t talking to me so I didn’t answer.
“I could leave it right here where it’ll be safe. Put a phone book or something in for weight.” He sank into his desk chair; popped up again like a jack-in-the-box. He was wired so tight I could almost hear him humming. “No, what’s the matter with me, that won’t work. I’m not thinking straight. He might open the case in the park. There’s no telling what he’d do if the money’s not there. And he’s got to have it in his possession when the police come.”
“That’s why I insisted we mark some of the bills.”
“Yes, right, I remember. Proof of extortion. All right, but for God’s sake don’t let him get away with it.”
“He won’t get away with it.”
Another jerky nod. “When’re you leaving?”
“Right now. You stay put until at least eight-thirty. It won’t take you more than twenty minutes to get out to the park.”
“I’m not sure I can get through another hour of waiting around here.”
“Keep telling yourself it’ll be over soon. Calm down. The state you’re in now, you shouldn’t even be behind the wheel.”
“I’ll be okay.”
“Come straight back here after you make the drop. You’ll hear from me as soon as I have anything to report.”
“Just don’t make me wait too long,” Cohalan said. And then, again and to himself, “I’ll be okay.”
Cohalan’s office building was on Kearney, not far from where Kerry works at the Bates and Carpenter ad agency on lower Geary. She was on my mind as I drove down to Geary and turned west toward the park; my thoughts prompted me to lift the car phone and call the condo. No answer. Like me, she puts in a lot of overtime night work. A wonder we manage to spend as much time together as we do.
I tried her private number at B & C and got her voice mail. In transit, probably, the same as I was. Headlights crossing the dark city. Urban night riders. Except that she was going home and I was on my way to nail a shakedown artist for a paying client.
That started me thinking about the kind of work I do. One of the downsides of urban night riding is that it gives vent to sometimes broody self-analysis. Skip traces, insurance claims investigations, employee background checks — they’re the meat of my business. There used to be some challenge to jobs like that, some creative maneuvering required, but nowadays it’s little more than routine legwork (mine) and a lot of computer time (Tamara Corbin, my technowhiz assistant). I don’t get to use my head as much as I once did. My problem, in Tamara’s Generation X opinion, was that I was a “retro dick” pining away for the old days and old ways. True enough; I never have adapted well to change. The detective racket just isn’t as satisfying or stimulating after thirty-plus years and with a new set of rules.
Every now and then, though, a case comes along that stirs the juices — one with some spark and sizzle and a much higher satisfaction level than the run of the mill stuff. I live for cases like that; they’re what keep me from packing it in, taking an early retirement. They usually involve a felony of some sort, and sometimes a whisper, if not a shout, of danger, and allow me to use my full complement of functional brain cells. This Cohalan case, for instance. This one I liked, because shakedown artists are high on my list of worthless lowlifes and I enjoy hell out of taking one down.
Yeah, this one I liked a whole lot.
Golden Gate Park has plenty of daytime attractions — museums, tiny lakes, rolling lawns, windmills, an arboretum — but on a foggy November night it’s a mostly empty green place to pass through on your way to somewhere else. Mostly empty because it does have its night denizens: homeless squatters, not all of whom are harmless or drug-free, and predators on the prowl in its sprawling acres of shadows and nightshapes. On a night like this it also has an atmosphere of lonely isolation, the fog hiding the city lights and turning streetlamps and passing headlights into surreal blurs.
The buffalo enclosure is at the westward end, less than a mile from the ocean — the least-traveled section of the park at night. There were no cars in the vicinity, moving or parked, when I came down Kennedy Drive. My lights picked out the fence on the north side, the rolling pastureland beyond; the trash barrel and bench were about halfway along, at the edge of the bicycle path that parallels the road. I drove past there, looking for a place to park and wait. I didn’t want to sit on Kennedy; a lone car close to the drop point would be too conspicuous. I had to do this right. If anything did not seem kosher, the whole thing might fail to go off the way it was supposed to.
The perfect spot came up fifty yards or so from the trash barrel, opposite the buffaloes’ feeding corral — a narrow road that leads to Anglers Lodge where the city maintains casting pools for fly fishermen to practice on. Nobody was likely to go up there at night, and trees and shrubbery bordered one side, the shadows in close to them thick and clotted. Kennedy Drive was still empty in both directions; I cut in past the Anglers Lodge sign and drove up the road until I found a place where I could turn around. Then I shut off my lights, made the U-turn, and coasted back down into the heavy shadows. From there I could see the drop point clearly enough, even with the low-riding fog. I shut off the engine, slumped down on the seat with my back against the door.
No detective, public or private, likes stakeouts. Dull, boring, dead time that can be a literal pain in the ass if it goes on long enough. This one wasn’t too bad because it was short, only about an hour, but time lagged and crawled just the same. Now and then a car drifted by, its lights reflecting off rather than boring through the wall of mist. The ones heading west may have been able to see my car briefly in dark silhouette as they passed, but none of them happened to be a police patrol and nobody else was curious enough or venal enough to stop and investigate.
The luminous dial on my watch showed five minutes to nine when Cohalan showed up. Predictably early because he was so anxious to get it over with. He came down too fast for the conditions; I heard the squeal of brakes as he swung over and rocked to a stop near the trash barrel. I watched the shape of him get out and run across the path to make the drop and then run back. Ten seconds later his car hissed past where I was hidden, again going too fast, and was gone.
Nine o’clock.
Nine oh five.
Nine oh eight.
Headlights probed past, this set heading east, the car low-slung and smallish. It rolled along slowly until it was opposite the barrel, then veered sharply across the road and slid to a crooked stop with its brake lights flashing blood red. I sat up straighter, put my hand on the ignition key. The door opened without a light corning on inside and the driver jumped out in a hurry, bulky and indistinct in a heavy coat and some kind of head covering; ran to the barrel, scooped out the briefcase, raced back and hurled it inside; hopped in after it and took off. Fast, even faster than Cohalan had been driving, the car’s rear end fishtailing a little as the tires fought for traction on the slick pavement.
I was out on Kennedy and in pursuit within seconds. No way I could drive in the fog-laden darkness without putting on my lights, and in the far reach of the beams I could see the other car a hundred yards or so ahead. But even when I accelerated I couldn’t get close enough to read the license plate.
Where the Drive forks on the east end of the buffalo enclosure, the sports job made a tight-angle left turn, brake lights flashing again, headlights yawing as the driver fought for control. Looping around Spreckels Lake to quit the park on 36th Avenue. I took the turn at about half the speed, but I still had it in sight when it made a sliding right through a red light on Fulton, narrowly missing an oncoming car, and disappeared to the east. I wasn’t even trying to keep up any longer. If I continued pursuit, somebody — an innocent party — was liable to get hurt or killed. That was the last thing I wanted to happen. High-speed car chases are for damn fools and the makers of trite Hollywood films.