It has been almost seven years since the City Center Massacre, that fateful April morning when Brady Hartfield drove a grey Mercedes into a crowd of people waiting to attend a job fair in the heartland of recession-struck America. When a worrying trend develops for survivors of that terrible tragedy to commit suicide, Pete Huntley – a police detective on the verge of retirement, and saddled with a partner harbouring grand ambitions – calls his old partner, Bill Hodges, and asks him to take a look. Hodges has long been convinced that he wasn’t finished with Brady Hartfield and is immediately convinced that Mr Mercedes is behind this latest series of deaths. The only problem is that Brady Hartsfield has been residing in Room 217 of the Lakes Region Traumatic Brain Injury Clinic for six years, unresponsive and unlikely to recover.
It is a little under two years since the publication of Stephen King’s first Bill Hodges novel, Mr Mercedes, but this third visit to the retired detective and his friends feels like we are returning to visit an old and well-loved friend, perhaps for the final time. Bill, now approaching seventy and suffering from aches and pains that his younger self might have shrugged off – when the book opens, we meet Bill in the waiting room of his doctor’s surgery – is still running investigation firm Finders Keepers along with Holly Gibney, whom he met as a direct result of the events of that long-ago April morning. While his regular visits to Brady Hartfield’s hospital room stopped over six months before, his conviction that the man has been in some way faking is still as strong as ever, so that when his old partner calls his first thought is that Brady has somehow been responsible for the deaths of these people, people who survived his first attempt to kill them outside the City Center Job Fair.
King laid much of the groundwork for this final instalment in the trilogy’s middle chapter, Finders Keepers, when he introduced the reader to the possibility of Brady having telekinetic powers. This is developed further as End of Watch proceeds, and we learn that the ability to move objects with his mind might be the least of the abilities that Brady has gained since his encounter with Hodges’ “Happy Slapper”, in a move that takes us out of the realms of straight crime and back into the world of the unknown that we, as Stephen King readers, have come to know so well over the years. The presence of the Zappit, an out-dated gaming tablet with a decidedly hypnotic demo screen, in the possession of each of the suicides is the final connection that convinces Hodges that he is right in his suspicions, and leaves him with the question of how to prove such an outlandish theory.
End of Watch brings the story of Bill Hodges and Brady Hartfield full circle, pitting them against each other once again in an old-fashioned battle of good against evil. The intervening years have been less than kind to both men, so that the outcome is uncertain even as the novel approaches its final climactic scenes. It continues the theme of obsession that has run through the entire series, as each man seems out to get the other at the exclusion of all else. What sets them apart, what makes one good and one evil, seems to come down to how they interact with other people: Bill loves his two friends, Holly and Jerome, and is loved dearly by them in return; Brady, meanwhile, uses the people around him to get what he needs and discards them like ragdolls when he is finished. As always, the strength of King’s novels lies in his unparalleled ability to create characters with whom we can identify, and who become living, breathing entities as the story progresses; End of Watch, and the entire Bill Hodges Trilogy, is no exception.
King places strong emphasis on suicide throughout the novel, and even highlights its presence in the Author’s Note at the end of the book. Suicide has played a part in Brady Hartfield’s adventures before: his original plan was to convince Hodges to end his own life shortly after the detective retired. End of Watch takes a look at his strange ability to be able to read people and to get under their skin, to prod them gently in the direction of their own demise by their own hand. Given his current vegetative state, it’s an interesting solution to the problem of how Brady can take his revenge and continue his killing spree. In a world where suicide rates are high as a result of bullying and its more modern cousin, cyber bullying, it is at once instantly believable and frightening in the very real sense of the word.
With End of Watch King also examines old age, and the betrayal it brings with it. We never knew Bill Hodges as a young man, though the many ways in which his body have begun letting him down as he approaches seventy drive home for us the fact that he is well advanced in years and that, despite fighting on the side of good for at least as long as we’ve known him, he is facing an inevitability that will come to us all should we live that long. There is a feeling that King is writing from a position of experience, and the reader can’t help but wonder if it’s a means for the author to examine – and to begin to come to terms with – his own mortality.
Perhaps the strongest book of the trilogy, End of Watch is a welcome return to the unnamed city that is the home of Bill Hodges and the assortment of characters with whom he consorts. As with all of King’s work, the characters are key, though the reader can’t help but be impressed by the groundwork the author has already laid in earlier volumes to support the grand finale that he presents here. Despite his age, King shows that he is still as relevant, still as in-touch with the world we live in, as younger generations of writers, and proves, once again, that when it comes to transporting the reader into his fictional worlds, he remains without equal.