Hit Man - Lawrence Block [10]
Keller had the special, a chicken-fried steak and some French fries that came smothered in gravy. He was hungry enough to eat everything in spite of the way it tasted.
You don’t want to live here, he told himself.
It was a relief to know this. Driving around Martingale, Keller had found himself reminded of Roseburg, Oregon. Roseburg was larger, with none of the Old West feel of Martingale, but they were both small western towns of a sort Keller rarely got to. In Roseburg Keller had allowed his imagination to get away from him for a little while, and he wouldn’t want to let that happen again.
Still, crossing the threshold of the Singletree, he had been unable to avoid remembering the little Mexican place in Roseburg. If the food and service here turned out to be on that level—
Forget it. He was safe.
After his meal Keller strode out through the bat-wing doors and walked up one side of the street and down the other. It seemed to him that there was something unusual about the way he was walking, that his gait was that of a man who had just climbed down from a horse.
Keller had been on a horse once in his life, and he couldn’t remember how he’d walked after he got off of it. So this walk he was doing now wasn’t coming from his own past. It must have been something he’d learned unconsciously from movies and TV, a synthesis of all those riders of the purple sage and the silver screen.
No need to worry about yearning to settle here, he knew now. Because his fantasy now was not of someone settling in but passing through, the saddle tramp, the shootist, the flint-eyed loner who does his business and moves on.
That was a good fantasy, he decided. You wouldn’t get into any trouble with a fantasy like that.
Back in his room, Keller tried the book again but couldn’t keep his mind on what he was reading. He turned on the TV and worked his way through the channels, using the remote control bolted to the nightstand. Westerns, he decided, were like cops and cabs, never around when you wanted them. It seemed to him that he never made a trip around the cable circuit without running into John Wayne or Randolph Scott or Joel McCrea or a rerun of Gunsmoke or Rawhide or one of those spaghetti westerns with Eastwood or Lee Van Cleef. Or the great villains—Jack Elam, Strother Martin, the young Lee Marvin in The Man Who Shot Liberty Valance.
It probably said something about you, Keller thought, when your favorite actor was Jack Elam.
He switched off the set and looked up Lyman Crowder’s phone number. He could dial it, and when someone picked up and said, “Crowder residence,” he’d know how the name was pronounced. “Just checking,” he could say, cradling the phone and giving them something to think about.
Of course he wouldn’t say that, he’d mutter something harmless about a wrong number, but was even that much contact a good idea? Maybe it would put Crowder on his guard. Maybe Crowder was already on his guard, as far as that went. That was the trouble with going in blind like this, knowing nothing about either the target or the client.
If he called Crowder’s house from the motel, there might be a record of the call, a link between Lyman Crowder and Dale Whitlock. That wouldn’t matter much to Keller, who would shed the Whitlock identity on his way out of town, but there was no reason to create more grief for the real Dale Whitlock.
Because there was a real Dale Whitlock, and Keller was giving him grief enough without making him a murder suspect.
It was pretty slick the way the man in White Plains worked it. He knew a man who had a machine with which he could make flawless American Express cards. He knew someone else who could obtain the names and account numbers of bona fide American Express cardholders. Then he had cards made that were essentially duplicates of existing cards. You didn’t have to worry