frantically and yet with clear deliberation, until she sorted out two clubs, two hearts, and one spade. The suits of the chosen cards were of no consequence, but the numbers on them were meaningful, because using her nose and her paws, the dog lined them up side by side in correct numerical order—3 of spades, 4 of clubs, 5 of hearts, 6 of clubs, 7 of hearts — and then grinned at Polly expectantly.
Gymnastic dogs balancing on rolling beachballs and walking on parallel bars, pyrophilic dogs leaping through flaming hoops, tiny dogs riding the backs of big dogs as those mounts raced and leaped through obstacle courses, mortified dogs in pink tutus dancing on their hind feet: In Vegas, Polly had seen trained dogs do impressive stunts, but she had never until now seen any mutt exhibit advanced numerical aptitude, so even as she watched Old Yeller paw the 6 of clubs into place and nose the 7 of hearts in line immediately after it, she muttered the name of the loathsome movie star not once but twice, made eye contact with this furry mathematician, shivered with a delicious sense of wonder, and said what Lassie must have been sick to death of hearing during her long years with Timmy on the farm: “You’re trying to tell me something, aren’t you, girl?”
Intending no offense to Romulus, Tarzan, and HAL 9000, Cass judged Earl Bockman’s social skills to be worse than those of a child nursed in infancy by wolves, subsequently adopted by a tribe of apes, and later educated entirely by machines.
He was stiff. Self-conscious. Fidgety. His facial expressions were seldom appropriate to what he happened to be saying, and every time he appeared to recognize an instance of this inappropriateness, he resorted to the same cartoon-cat-caught-at-the-canary-cage smile that he seemed to think was folksy and reassuring.
Worse yet, Earl was a droner. Each pause in conversation longer than two seconds made him nervous. He rushed to fill every brief silence with the first thing that came into his head, which reliably proved to be something tedious.
Cass decided that Maureen, Earl’s wife and reputed peach, must be either a saint or as dumb as a carrot. No woman would stay with this man unless she was a religiosity who hoped to purify her soul through suffering or had no detectable cerebral function.
Leaning against the motor home, waiting for the tank to fill, Cass felt as if she were a condemned prisoner with her back pressed to the executioner’s wall. Earl was a one-man firing squad, the bullets were his words, and boredom the method of execution.
And what was the story with the watch? No better skilled at surreptitious action than at conversation, Earl aimed the gadget at various points in the night around them. He even dropped to one knee to tie a shoelace that appeared to be tied perfectly well before he decided to tend to it, obviously as an excuse to direct the lace of the wristwatch toward the space under the Fleetwood.
Maybe he suffered from obsessive-compulsive disorder. Maybe he was compelled to aim his wristwatch ceaselessly at people and things, just as some obsessives washed their hands four hundred times a day, and just as others counted the socks in their dresser drawers or the plates in the kitchen cupboards once every hour.
At first he’d been a little bit of a sad case, but then quickly he’d become amusing.
He wasn’t amusing anymore.
Increasingly, he gave Cass the creeps.
During the three years she’d been married to Don Flackberg — film producer, younger brother of Julian — Cass moved in the highest levels of Hollywood society, where she had eventually calculated that of the entire pool of successful actors, directors, studio executives, and producers, 6.5 percent were sane and good, 4.5 percent were sane and evil, and 89 percent were insane and evil. In accumulating the experience to make this assessment, she had learned to recognize a series of eye expressions, facial ticks, and body-language quirks, as well as other physical and behavioral tells that unfailingly alerted her to the maddest of the mad and to the most monstrously wicked of the wicked before she fell prey to them. Following three minutes of observation, she believed that Earl Bockman, a simple pump jockey and grocer, was every bit as insane and evil as any of the richest and most highly honored members of the film community whom she had ever known.
In the darkness behind the crossroads store, between the moon-drizzled faux Corvette and the Explorer stuffed with corpses, Curtis keeps a watch on the back door of the building and on both the north and the south corners, around either of which epic trouble might come at any moment.
Most of his attention, however, is reserved for the boy-dog bond that he’s exploiting now more intensely than ever before. He is here with a dry breeze whispering through the prairie grass at his back, but he is also — and more completely — with his sister-become inside the motor home, dazzling Polly with canine arithmetic and then with an instrument more complicated than playing cards.
When he’s sure that Polly understands his message, that she is alarmed, and that she’ll act to save herself and her sister, Curtis retreats from the dog and from the motor home. Now he lives only here in the warm breath of the prairie, in the cold light of the moon.
These hunters always travel in pairs or squads, never alone. The fact that both of the mom-and-pop cadavers in the SUV were stripped of clothes indicates that in addition to the man out at the pumps, a killer masquerading as the chestnut-haired woman waits in the store.
The Corvette-what-ain’t-a-Corvette is roomier than the sports car that it pretends to be. The vehicle can comfortably accommodate four passengers.
Ever hopeful, as he was raised to be, Curtis will operate under the assumption that only two assassins are present at the crossroads. Anyway, if there are four, he has no chance whatsoever of surviving a confrontation. And in that event, he wouldn’t know how to fight a quartet of these vicious predators; consequently, faced with four, his only sensible strategy would be to run into the prairie in search of a high cliff or a drowning river, or in pursuit of some other death that might be easier than the one that the killers plan to measure out to him.
Although usually he would avoid a clash with even just two of these hunters — or with one! — he doesn’t have the luxury of flight in this case, because he has an obligation to Cass and Polly. He’s told them to run, but they might not be permitted to leave if they are thought to harbor him. In that case, he can only distract the enemy from the twins by revealing himself.
Quickly now, into the thick of it, between the meat-wagon Ford Explorer and the extraterrestrial road-burner, to the back door of the building. Try the knob carefully, quietly.
Locked.
Curtis challenges the door, willpower against matter, on the micro scale where will should win — as it won at the back door of the Hammond farmhouse in Colorado, as it won at the door of the SUV on the auto carrier in Utah, and elsewhere.
He has no sixth sense, no superpowers that would make him prime material for a series of comic books portraying him in colorful cape and tights. His main difference lies in his understanding of quantum mechanics, not as it is half understood on this world, but as it is more fully understood on others.
At the fundamental structural level of the universe, matter is energy; everything is energy expressed in myriad forms. Consciousness is the marshaling force that builds all things from this infinite sea of energy, primarily the all-encompassing consciousness of the Creator, the playful Presence in the dog’s dreams. But even a mere mortal, having been granted intelligence and consciousness, possesses the power to affect the form and function of matter by a sheer act of will. This isn’t the great world-making, galaxy-creating power of the playful Presence, but a humble power with which we can achieve only limited effects.
Even on this world, at its current early stage of development, scientists specializing in quantum mechanics are aware that at the subatomic level, the universe seems to be more like thought than like matter. They also know that their expectations, their thoughts, can affect the outcome of some experiments with elemental particles like electrons and photons. They understand that the universe is not as mechanistic as they once believed, and they have begun to suspect that it exists as an act of will, that this willpower — the awesomely creative consciousness of the playful Presence — is the organizing force within the physical universe, and that this power is reflected in the freedom that each mortal possesses to shape his or her destiny through the exercise of free will.
Curtis is already hip to all this.
Nevertheless, he remains afraid.
Fear is an unavoidable element of the mortal condition. Creation in all its ravishing beauty, with its infinite baroque embellishments and subtle charms, with all the wonders that it offers from both the Maker and the made, with all its velvet mystery and with all the joy we receive from those we love here, so enchants us that we lack the
