No, more than that. I wanted this to end. Once and for all.I whipped left on 16th. I’d dash one block east and turn left again on Wyoming. Head back to 12th, slam a right and rocket into downtown Kansas City. He wouldn’t shoot at me in a crowded area. Would he?I reached down for my cell to update the dispatcher when the Ram slammed into the passenger side of my pickup. He bounced off a little and I twisted the wheel to my right as hard as I could. Fucker.My F-150 isn’t as large, not as heavy as the Dodge, but the sideways lunge forced Gunther into a line of parked cars on his right side. I stomped on the brakes, still wrenching the wheel to the right with all my might. We ground to a screeching halt, the Ram sandwiched between my pickup and an Excella Laundry delivery truck.I yanked the door open and jumped out, running as hard as I could past the Ram, back toward Gennesse. Toward my building, toward my office with the steel-reinforced door. My pistol in my right hand as my arms. Trevor looked at one of the newer canvasses - a bleak alien landscape donein acrylics. The mountainsides were jagged brown and muted purple, the skya hazy gold with dozens of strange stars peeping through the curtain ofdusk. Not recognizing the work of his own hand, his ARM buzzed. On a lark,Trevor double-tapped and was suddenly in possession of ghost memories ofthe work spent planning and executing the landscape, of practice sketchesand studies in chiaroscuro. He cracked open the acrylics and got to work ona small canvass, imagining what that bleak landscape would look likepopulated by the gold and russet leaves of autumn instead. Within an hour,he had a little five-by-seven piece that he could live with. Not his bestwork ever, but as excellent a balance of time and quality as he'd evermade. Only in looking at it retrospectively did he notice something he'dabsently brushed in, hardly even thinking about it. It was also visible on'his' original larger work of the landscape: a slash in.
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