Joe Victim

Chapter Forty-Three

Schroder hates working on Sundays. It seems he’s busier now than he was when he was a cop. His wife sure thinks so. She was grumpy with him this morning over breakfast. The excuse that This is his job was no better today than it has been over the last twenty years. And the kids were being annoying. The baby last night was hard work. He’d sleep for half an hour and then whimper and be grizzly and then wake up. So Schroder would wake up too. So would his wife. They’d take turns at feeding him. At one point the baby shit himself so bad Schroder thought they were going to have to call in an exorcist to clean up the mess. It’s been a night of broken sleep, following a week of broken sleep, following what has now felt like forever. He loves his kids more than anything, but every night as four a.m. rolls into five, he figures the difference between being a good dad and a bad dad is that a good dad doesn’t put a pillow over the baby to make it go quiet. He knows from the job that there have been plenty of bad dads over the years. Bad mums too.

There are things to be pleased about this morning. Reasons to be calm. Joe led the police to a body yesterday evening. It hadn’t been a trap. Melissa didn’t reveal herself. There were no explosions, no splashes of blood. Schroder had been expecting bad news. When the call came he was almost too afraid to answer it. It wasn’t Joe calling on the dead detective’s cell phone, it was Kent herself reporting in.

The deal was going ahead. The body, as far as the rest of the world was concerned, was still missing. So Jonas Jones was going to become a hero. Or he is facing a huge embarrassment if the body belongs to somebody else. Though, knowing Jones, there’ll be a way to spin that into a positive. He’ll probably say Calhoun, even from the spirit world, is still first and foremost a cop.

Also, Kent had said, have you heard about the university students?

Yeah, I’ve heard.

I just don’t understand young people, she said.

Nobody does, he said. Not even young people.

People have been killed, people are hurting, but it’s just an excuse for a party for these kids. I just hope none of them dress as any of the victims. You think they’d do that?

Schroder didn’t know, but hoped not, and told her so.

He stopped for coffee on the way to the TV station. He popped a couple of caffeine pills into his mouth and they disappeared with the first swallow of coffee, the extra hit helping him wake up, but the problem with those extra hits is they just don’t last as long as they used to.

There aren’t many people in the studio. Sunday isn’t a popular day for making stuff happen. Even God thought that way. There’s a small crew. Two camera operators, a man and a woman who Schroder is sure are involved with each other in some way. A sound guy with a German accent whose job is to hold up a boom microphone and stay out of the way. An intern holding the lights. And the director, a very butch-looking woman who looks like she could field strip a rabbit and turn it into stew. They’re all on the set where they normally film. Schroder hates this part. He is the police presence to give the show more authenticity.

Schroder’s used to talking into the camera. He’s done it with cases in the past. It’s not difficult. Not when you’re speaking about a case. But it is when you’re talking from a script. He is sitting opposite Jonas Jones, Psychic. They are at a table with a black cloth over it. There are flowers in the center, more flowers in the backdrop, some candles too. There are two product-placed bottles of McClintoch spring water on the table. The labels are facing the camera and the advertising department of McClintoch spring water are contributing funds to the making of the show.

Everyone’s a winner.

Schroder feels sick.

He looks into the camera.

“Today we’re investigating the disappearance of Detective Inspector Robert Calhoun,” he says. Then he freezes. Suddenly he’s thirsty. His voice is catching in his mouth.

“Take a drink,” the director says, “and try again.”

“Okay,” he says, and he grabs himself a bottle of water and takes a few sips, then places it back, careful to keep the label pointing outward. “Ready?” he asks.

“Yeah. Just waiting for you,” the director says.

He coughs into his hand even though he doesn’t feel the need, then carries on. “Tonight we’re investigating the disappearance of Detective Inspector Robert Calhoun,” Schroder says, “who was killed twelve months ago by a woman by the name of Natalie Flowers, who has become better known as Melissa X. Attempts to find Detective Calhoun’s body have all been in vain. Today Jonas Jones is going to change that. Today Jonas Jones will be offering his much-needed assistance to the police and to Detective Calhoun’s wife and will lead us to his body.”

“Cut,” the director says.

“What was wrong with that?” Schroder asks.

“It was good. Just don’t say Today Jonas Jones is going to change that. Say Jonas Jones is going to try and change that.”

“Okay,” Schroder says, and he starts at the beginning.

There is a camera pointing at Schroder and a camera pointed at Jonas, and it will get cut and edited together later on today. Jonas is slowly nodding. Schroder can feel an itch growing at the base of his nose, but doesn’t want to scratch it. No doubt during his speech the camera will cut to Jonas during the much-needed assistance part of his dialogue, as the words made his face scrunch up a little like he’d just bitten his tongue.

“Yes, yes,” Jonas says. “It was a very horrific killing,” he adds, leaning back and crossing his left leg over his right. He sits with his top two fingers pressing against each other, and his bottom two interlocked. He rests his hands on his lap. “Detective Robert Calhoun is not resting peacefully. He is a man who demands justice, and a man begging to be returned home. He has come to me for help, and he has a lot to say,” Jonas says, then he pauses and slowly nods and lowers his voice as if letting the world in on a big secret, and at the same time his hands come up to his face so his top two fingers, which are shaped like a gun, touch his lips. “I’ve been loaned one of his uniforms,” he says, and there’s a uniform on the table that Jonas puts his hands on top of. He closes his eyes and bunches some of the material up into his hand as if having a stroke, then lets it go and smoothes it out. “I can get an extremely strong sense of Detective Calhoun,” he says. “He was-or still is-a very strong-willed being.”

Schroder feels his stomach turn. Last time he felt this sick was when his brother invited them over for a barbecue and undercooked the chicken. He should quit. None of this is worth it. In forty years when he’s facing cancer and lung disease and whatever other sickness cocktail life throws at him, this is one of those weeks he’s going to look back at and hate himself for. Unless the Alzheimer’s has set in by then-and Alzheimer’s would be just like his Wake-E pills, a godsend.

Jonas carries on. Schroder takes another drink of water, knowing it won’t make the TV cut. Jonas tells the audience the pain that Calhoun is in. He pads it out. The candles are flickering. Jonas is deep in concentration as he makes a connection to the dead policeman. His legs are no longer crossed. Ever the professional, Jonas gets it right the first time. There is no need for a reshoot.

“He’s buried,” Jonas says, which is a nice generic beginning, but Schroder knows it’s only going to get a whole lot more accurate. “Out of the city, but not far. Half an hour away perhaps. I sense. . I sense water,” he says, then slowly shakes his head, “no, not water. Darkness. Damp darkness. The ground is exposed. It’s wet from the rain. I see. . I see a shallow grave.” He tilts his head, like Lassie listening for children stuck down wells, only Lassie had ethics. “North,” he says. “North and. . west a little.”

Jonas Jones opens his eyes. He looks directly into the camera, just the right amount of happiness in his features because he’s been able to help, just the right amount of sadness the occasion demands, all mixed in with a pinch of looking drained-being in touch with the spirit world is bound to take its toll. He doesn’t blink. “I have a very real sense of what happened to Detective Robert Calhoun,” he says. “I believe I can. . yes, yes, I believe I can lead us to him. I. .” he squeezes his eyes closed and tilts his head the other way, grimacing slightly as if in pain, proving once again the burden of being a gifted psychic, Schroder guesses. That and always knowing the lotto numbers. “I think I know where he is.”

“Where?” Schroder asks, frowning slightly, looking serious, playing the part.

“It’s hard to explain,” Jonas says, but then goes about explaining it anyway. “He’s calling to me. He wants to be found. He wants me to find him,” he says, stressing the word me because after all it’s Jonas that’s having the vision, not any one of these four-dollar-a-minute psychics you find on the other end of a phone line at two o’clock in the morning helping you with your love life.

“That’s good,” the director says, and Schroder thinks they might cut that last line, otherwise it suggests that if Jonas can’t find other murder victims they don’t want to be found.

“I didn’t go over the top?” Jonas asks.

“It was perfect,” the director says. “Let’s pack up and get this show on the road.”

The show gets on the road a few minutes later, starting with the parking lot. In the hour and a half they’ve been inside the morning hasn’t gotten any warmer. It’s sunny, thank God, but it’s still the kind of cold that makes you wonder just what temperature frostbite kicks in. He brings up the rear, the others ahead chatting contentedly among themselves, the way tight-knit groups do who have worked plenty of times together before. Jonas climbs into the driver’s seat of a dark blue sedan, which is two years old at the most. One camera operator sits in the passenger seat, and the sound guy sits in the back. The director and the lighting intern take a separate car, the second camera operator sitting in the passenger seat so they can shoot footage of Jonas’s car driving through the city. Schroder takes his own car, driving alone. It’s creeping up toward noon and he’s already tired. He needs to do something-he can’t carry on like this. Can’t be the whipping boy for a guy shooting what Schroder knows ought to be as appealing as late-night shopping shows. He just doesn’t get it, never will, and hates that he’s helping to make it more credible.

They head north. The view of the city changes as they pass through different suburbs, old houses next to new, new houses next to shops-the style of Christchurch evident at every turn. It’s his city, a city many of the people here have a love/hate relationship with. He remembers reading that most people die within a few miles of where they were born. They either never leave the city, or they go out into the world and come back many years later. He wonders if it’s true. It’s something he’s been thinking about a lot since last December when he almost died. Well, for a few minutes back in hot, sunny December he actually did die if you want to get all technical about it. He can’t shake the memory of it. It’s wedged down deep like a splinter buried beneath a fingernail that he can’t tweezer out. His hands were cuffed behind him and his head was held down in a bathtub full of water. When he died, he saw no light at the end of a tunnel, felt no peace, and then he was brought back. Since then he’s been seeing the world in a slightly different way. He doesn’t like it. He doesn’t like raising his kids in it. Doesn’t like the memory he has of his lungs flooding with bathwater.

He turns on the radio and flicks through various stations looking for one where people aren’t talking about Joe or the death penalty, then tries to find one where there is music and not ads, then gives up. The damn CD player doesn’t work since his daughter dripped water into it a year ago hoping to, as she said, make the music clearer. He guesses he’s lucky any of it works. Could be that’s the balance the city has struck with him-it drowns him and fires him and takes his CD player away, but he can have all the AM and FM he could want.

Kent sent them the GPS location of the body. It was accurate enough to get him and Jones to the farm earlier this morning. They had shared a car ride out there just before nine. Schroder had driven. He didn’t like the idea of Jonas being in control of the car in case he was suddenly struck down by a vision of Elvis. The problem is Jones decided to be in control of the conversation instead. It takes a brave man to say the things Jones was saying, and on the drive Schroder started to wonder where the line was between being committed for speaking to the dead and going on TV to help the public for a fee. What is insanity for some is showmanship for others, he guesses.

So Jonas Jones had rambled on for the twenty minutes they’d been together in the car. They had both worn thick jackets and hiking boots and the conversation dried up when they made the trek from the car to the grave. It wasn’t difficult to find where Calhoun was buried. Turned-over dirt was one big clue, footsteps leading all the way from the road another. So he and Jonas spent thirty minutes doing what Schroder thought was a pretty good job of hiding the fact anybody had been there within the last twenty-four hours. It had been an eerie feeling out there, and one that was spent mostly in silence. Jonas had been happy. Schroder had been sad. He was at the grave of a former cop, a man who had fought the same war; they had been brothers in arms and now Calhoun was the prop in some cheap parlor trick and Schroder had made that happen. The sun had come through the trees, none of which had any leaves, and hit the ground, burning off some of the moisture so it looked like rising steam. It was a good location for a TV shoot. The cameras were going to love it. He knew that’s what Jonas Jones, Psychic had been thinking. Whereas Schroder had been thinking about physics. About leverage and exertion and the effect an event can have on another. He was thinking about how hard it would be to dig Calhoun up and replace him with Jones. He was thinking about how that would make him happy, but Jonas sad. He was thinking about driving Calhoun to the morgue where he would be treated right. The dead man deserved more from both of them.

Of course he hadn’t done that. Instead they had finished up, using branches to break up the footprints on their way out. Back at the car they threw their jackets into the backseat and used cold, soapy water and rags to wash down their hiking shoes because they needed them to be clean for the shoot. Then they had left. They hadn’t spoken on the way back to the TV station. Jonas had been busy writing down notes in his journal. His mind had been racing. He’d been putting together his script.

Now they are heading out there again. They have to pull over a few times on the way for Jonas to clutch his head and tell the camera he was being drawn toward Calhoun. It was like he was dialing in the dead policeman on a receiver.

It’s like I’m being pulled toward him, it’s an actual physical feeling. He had seen Jonas write that line down, and no doubt he’ll be using it now.

When they get to the paddock they park up on the road and get out and into position and then it’s lights, camera, action. The cameraman shoots footage of them pulling hiking boots on, Jonas looking up into the camera at the time and saying, “I believe Detective Calhoun is around here somewhere.”

For the most part, Jones does look somber, and Schroder knows that’s a combination of practice and the fact that coming here has cost him a lot of money. The talent Schroder is most impressed by is how Jonas keeps the excitement out of his features.

The cameraman shoots footage of them dressing in warmer jackets before doing the same thing, then he hoists the camera back up and filming continues. Jonas tilts his head-another Lassie impression-then starts nodding, agreeing with the message Detective Calhoun is sending him.

“It’s this way,” he says.

The first obstacle is the fence, which Jonas climbs with ease. Then he leads them up a path made up of mud and stones and tree roots, the camera taking it all in. To his credit, Jonas doesn’t pick up a forked branch and use it as a divining rod. The psychic moves forward. Goes left, pauses, goes right, carries on. They walk a hundred yards. Two hundred. Then they’re there, the grave ahead of them, the director and camera crew having no idea that both Schroder and Jones were out here this morning, having no idea about the money Jonas paid for the information. To them, this is the real deal. There are a few footprints left from their earlier visit, and from Joe’s visit yesterday, but either nobody notices them or they choose not to mention it. Certainly he and Jones did a better job hiding them around the grave than they did on the path.

“Here,” Jonas says. “I believe Detective Inspector Calhoun is buried here,” he says, “somewhere within a ten-yard diameter. Perhaps. .” he says, then tilts his head a little more, “yes, yes, it’s quite strong now. I can hear him. He wants to be found. Perhaps just over here,” he says, and then he’s standing next to the grave. “A lost soul crying out to be found. He’s very sad, but relieved now,” Jonas says. “We need a shovel. Quickly now,” he says, then more urgently to the camera and to everybody else around, he says, “we must help him.”

“Perhaps we should call the police,” Schroder says, injecting no enthusiasm into the line.

“The police,” Jonas scoffs. “If we just call them they won’t come. They need a reason to. They need a body.”

Schroder has been carrying the shovel. He points it at the ground. “Here?” he asks.

“A few feet to your left,” Jonas says, and when this has gone through editing, when haunting music has been added, this is going to be a powerful moment. Hairs on necks all around the country will be bristling.

“Not too deep,” Jonas says.

Schroder carefully puts the blade of the shovel into the earth. He scoops it away slowly and creates a low mountain of wet earth behind him. A minute later he steps back.

“We have something,” he says, and the crew all move in. “It looks like human remains. Okay, look,” he says, turning toward Jonas and the camera crew and sounding like the policeman he used to be, he says “I know what you just said, but we have to shut this down. There’s enough here now to call the police. This is now officially a crime scene,” he says, and he puts his hand up to cover the lens just like they spoke about. “Don’t go wandering off,” he says, “don’t risk disturbing the area. And stop filming this.”

They stop filming.

“This is incredibly good shit,” the director says. “I gotta say, I had my doubts, but you’re the real deal, man,” she says, looking at Jonas.

Jonas smiles back at her, but Schroder can tell he’s looking a little offended by the fact that the director may have suspected he wasn’t on the level. “I’m just glad I can help,” he says.

Schroder gets his cell phone out and calls Detective Kent.