next phase in the operation.
Which was loading the truck. On a short-term lease from a major nationwide moving and storage company, the truck was a heavy-duty red Mack cab and a long silver Fruehauf trailer with a step-down behind the rear axle. The interior walls and floor of the trailer were completely padded in dark green, and lengths of rope attached to hooks in the walls could be strung across to fix any amount of cargo in place. The driver, a union man who did no work other than operating the truck, had been sitting in the cab outside the loading platform since a little after ten, listening to an Indianapolis pop music station on his transistor radio and reading the latest Travis McGee. He was called back briefly from the Florida coast by the sound of the loading-platform doors opening, but when he saw in his left-side rear-view mirror that it was just the moving men starting to bring the boxes out, he went right back to his book.
The trailer doors were shut and locked, and one of the foundation men had the key. He unlocked the doors, and as they were being opened, a patrol car of the Indianapolis city police came down the side street next to the loading platform and stopped nearby. The city detective jumped down from the platform and went over to talk to the cops in the patrol car.
The local moving men had unloaded this truck at the beginning of the show here in town, but this was only their second experience with this trailer and this cargo, so they followed the instructions of the two art- transportation experts, loading the crates in the exact sequence and exact positions they were told, tying portions of the load with specific ropes in specific ways, so that when they were finished, the trailer would be loaded in precisely the way it had been when it had brought the paintings into town ten days ago.
While the truck was being loaded, the patrol car remained parked nearby, and the five guards stood around on the loading platform watching the work and the surrounding darkness. Indianapolis goes to bed early on a week night, and this was a side street; traffic had just about stopped happening.
Because of the care that had to be used, and the specific blueprint that had to be followed, it took over an hour to load the paintings onto the truck. It was nearly one in the morning when at last the trailer doors were shut and the foundation man locked them and called up to the driver to switch on the burglar alarm—a siren that would wail like a coyote if anyone tried to open the trailer without the key in the foundation man’s possession.
Two of the guards now walked away around the corner, coming back a minute later in a pair of identical dark green Plymouths rented by the foundation, like the truck, for the duration of the tour. A second guard got into the front seat of each Plymouth, and the remaining fifth guard climbed up into the cab of the truck with the driver. The two insurance men got into the back seat of one of the Plymouths, and a foundation man and art-transportation expert got into the back of the other, leaving one foundation man and one expert, who would travel separately and arrive in St. Louis an hour or so ahead of the main party, to make sure everything was ready at that end.
This particular road show was now traveling from its fifth to its sixth city, but most of the people involved in it had shepherded other touring art displays over the years, and the method was by now standard and routine. They had done so far everything exactly as they had done it in the trip coming to Indianapolis, and the trip before that, and the trip before that.
The local moving men now departed, and so did the two advance men. The city detective got into the back seat of the patrol car, and the truck driver started his engine, turned his wheel with mighty lunges of his shoulders, and the rig moved slowly out away from the loading platform and into the street. The patrol car rolled out in front of it, and the Plymouth containing two guards, one foundation man and one expert came second. Then the truck, followed by the other Plymouth, with the last two guards and the two insurance men.
The four-vehicle fleet traveled slowly over to Meridian Street, and stayed on Meridian till the ramp to Interstate 70. They took 70 west, and as they approached the city line, one of the cops in the patrol car radioed to State Police Headquarters, just a mile or two ahead, to the south of the highway.
The State Police had been alerted ahead of time, and were waiting for the call. By the time the convoy reached the city line, a State Police car was there, waiting to take over from the city cops, who took the Morris Street exit to make their turnaround and go home.
The vehicles were maintaining a speed of forty-five miles an hour, way under the permissible limit but the maximum permitted by both the foundation and the insurance company. With two hundred fifty miles of road between downtown Indianapolis and downtown St. Louis, it would take nearly six hours to make the run; they should expect to pull in and be ready to start unloading by seven in the morning. Unpacking and hanging the paintings on the walls would take a good four hours, which would still leave plenty of leeway for the one o’clock press preview and the four o’clock cocktail party. Everything was going along according to schedule.
It was seventy-five miles to Terre Haute, and another ten beyond that to the Illinois border. The first State Police car was replaced by a second at Cloverdale, about halfway to Terre Haute. There was very little traffic this late at night, mostly other big rigs on long hauls, some of them moving even more slowly than the convoy, but for reasons of weight, not insurance.
There was a hundred-sixty-five-mile swing across the State of Illinois from Terre Haute, Indiana, to St. Louis, Missouri. The Illinois State Police took over escort duty at the town of State Line, and four different cars would guard them on their way, a new one taking over at about every forty miles.
At four-thirty in the morning Illinois Highway Patrol car S-562, Trooper Jarvis driving, Trooper MacAndrews accompanying, drove up onto route 70 from U.S. 40 at Bluff City. Trooper MacAndrews was in radio communication with the car currently escorting the art shipment, and knew they would reach mile marker 93 in approximately ten minutes. An official-use-only U-turn was down by that marker; Trooper MacAndrews informed the other car that they’d await them in that U-turn.
It was a two-minute run to the U-turn, and when they got there a car was sitting in it. “What the hell is that?” Trooper MacAndrews said. There wasn’t supposed to be any civilian use of the U-turns at all. including parking.
“Fifty-eight Chevrolet,” Trooper Jarvis said. “Busted-up old clunker, shouldn’t be on the road at all. Prob’ly broke down, they shoved it in here.”
“Not supposed to be in here,” Trooper MacAndrews said. “We’ll check it out,” Trooper Jarvis said, making the turn to stop beside the Chevrolet, and damn if there wasn’t a couple screwing on a blanket next to the car.
“Son of a bitch!” Trooper MacAndrews said. The bare ass of the boy stopped humping when the light hit it, and he stared over his shoulder in astonishment at the car two yards back of his feet. He was as shaggy and hairy as a mountain goat.
“One of them hippies,” Trooper MacAndrews said. “We’ll see about this,” Trooper Jarvis said grimly, and carefully put on the emergency brake before getting out of the car. While the troopers were climbing out of their vehicle, the boy was climbing off the girl. The girl squinted in the light and shielded her eyes with her hands, like an Indian scout, but made no attempt to shield anything else.
