As far as Drexel was concerned, if people wanted to pay for the prospect of seeing some spic with his belly ripped away, holding in his entrails with one bloody hand, then that was all right with him. He had raised his prices ten percent after the last incident, three months previously; with a winking smile, he had told Juano—his three-hundred pound headwaiter-cum-bouncer—that the increase was a kind of entertainment tax, what the hell.
At five o’clock Sunday afternoon, Drexel was sitting in his darkly furnished office upstairs above the lounge, drinking aquardiente, and staring broodingly at a large reproduction in oil of a portion of a mural by Diego Rivera, which covered the wall immediately behind his desk. He felt edgy and restless, had felt that way ever since learning of Beauchamp’s death, and spending the better part of the day in his office hadn’t helped matters any. And then there was the meeting last night—that had been a mistake right down the line. Conradin and Kilduff were a pair of spineless bastards and he should have known better than to expect anything from them, not after so many years had elapsed. Well, if they wanted to sit around and pretend that their goddamn lives weren’t in danger, then that was rum-dandy; but he was damned if he would do the same thing. The both of them could go screw off. He’d take care of Number One and only Number One from now on.
Driving back to Los Gatos from Kilduff’s apartment last night, he had decided on a direct course of action—and that meant locating Leo Helgerman, which in turn meant returning to Illinois for the first time since 1962. He had debated leaving immediately—today, Sunday—but there was the fact of a certain contract meeting in Wade Cosgreave’s law offices Monday morning at ten sharp. Drexel had spent three months negotiating with a stubborn old fart named Esteban Martinez for purchase of Cantina del Flores, a restaurant-and-lounge combine in Campbell, similar to El Peyote, and Cosgreave had all but clinched the deal just last week; there remained only the formalities of signing the contract and working out financial arrangements with banking representatives. But there were other interested parties besides himself, and he knew that if he canceled the meeting tomorrow, he would run the risk of ruffling Martinez’s feathers enough to make him sell to one of the other bidders—and Cantina del Flores was too juicy a plum (the first such plum in a carefully mapped plan for expansion), to risk losing out on.
Drexel had called the airlines reservations desk at San Francisco International that morning, reserving passage on the three-thirty flight for Chicago on Monday afternoon. One more day wouldn’t make any difference, not so long as he was watchful and—
A knock sounded on the door, soft, almost hesitant. Drexel swiveled reflexively toward the door, his hands gripping the lacquered edge of his desk just above the center drawer, his body tensing. “Who is it?” he called out sharply.
“It’s Fran, Larry,” a quiet, familiar voice said from the other side of the door.
Drexel relaxed. Damn, but he was edgy. He was beginning to jump at shadows again, the way he had done those three years in Illinois, waiting. Ease down, he told himself, cool now. Then he stood and went over and unlocked the door.
Fran Varner came in past him, wearing her hostess outfit—a short, flaming scarlet enredo and a sleeveless, low-cut, very tight white blouse. Her smile was hesitant, like the knock had been. She said, “Hi,” turning to face him.
“Hi, kid,” Drexel said.
“I was wondering if . . . you were going to take me home.”
“Didn’t you bring your car?”
“Well, yes, but—”
Drexel grinned. Yeah, he had to ease down all right, and there was one sure way of doing that. He let his eyes walk appreciatively along her smooth, tawny legs and upward across her flat stomach to the swell of her breasts. “Sure,” he said. “I know.”
She lowered her eyes. “You’re not still mad at me, are you?”
“Mad at you?”
“You hardly said two words to me today, and after yesterday . . . well, I thought—”
Drexel put his hands on her shoulders. “Don’t be silly, kid,” he said softly. “I’ve had some things on my mind, that’s all.”
“It wasn’t me?”
“No, it wasn’t you.”
“Larry ...”
He brought her up close against him, kissing her, letting his tongue flick over her lips. Her arms went around his neck as she returned his kiss passionately, tongue meeting his, her body fitting to his. He took his left hand from her shoulder and let it slide down to cup one of her breasts, kneading gently; breath came in sharp, staccato explosions from her nostrils. But when his hand left her breast and moved down to her thigh, coming up under the wrap-around skirt, she broke the kiss and stepped back, face flushed, chest lifting and falling rapidly. She said in a whisper, “I’ll make supper for you tonight, if you want.”
“Sure,” he said.
“Fried chicken and cole slaw and apple turnovers.”
“That’s the ticket.”
“I love you, Larry.”
“Sure, baby,” he said. “Listen, you go down to the lounge and wait for me. I’ll be along in a couple of minutes.”
“All right,” Fran said. “Don’t be long.”
“A couple of minutes.”
He watched the movement of her hips under the skirt as she left the office, thinking: Some sweet piece of ass, all right, he would be calm as a baby after a session in the sack with her. When the door had closed behind her, he returned to his desk and slid the center drawer open. He lifted out the .38-caliber Smith and Wesson revolver that he had bought and registered and received a permit for just after opening El Peyote. He put the gun in his left-hand jacket pocket and took his overcoat from the rack near the door; the weight of the revolver, which pulled down the left side of the suit jacket, was not noticeable when he had the overcoat buttoned.
He wasn’t going unprepared, that was for sure. Helgerman would find one hell of a hot reception waiting for him if he came after Larry Drexel before Drexel had the chance to look him up . . .
7
When Jim Conradin had been a senior in high school, he had read as part of an advanced English Literature course Joseph Conrad’s The Heart of Darkness. Toward the end of that richly symbolic novella, a German exploiter named Kurtz lies dying in the pilot room of a steamer in the atavistic jungles of the Congo. Maddened, but still capable of moments of rational lucidity, Kurtz cries out to the narrator of the story, Marlow, with perhaps his final breath: “The horror! The horror!”
Which meant what? Conradin’s instructor had asked in an essay assignment. The horror of death? Of the primordial wilderness and what it can do to a man? Or of something else, as suggested by the events of the story? Conradin had written that “the horror,” Kurtz’s and every man’s, was the sight of his own soul, stripped bare before his eyes to reveal it for what it could and had become. The “heart of darkness,” then, he had said, was not the Congo of the late eighteen hundreds—but the very essence of man.
As he paced cat-nervous from one room to another in the big white house on the northern flat of Bodega Bay, Conradin was oddly reminded of that story, and of his perception at age eighteen. He took short, quick sips from a tumbler half filled with sour mash bourbon as he paced—sitting room, kitchen, upstairs hall, cellar workshop, bedroom, storage porch—stopping for a moment to stare out at the black wall of fog enshrouding the house, moving once more, thinking: The horror! The horror!