Skeleton Crew

right away, wanted it out of there tonight, wanted it out of there within the hour. He looked at me as though I had gone completely—you should pardon the expression—bonzo seco, and I can understand that now. That smoke detector was supposed to make me feel good, it was supposed to make me safe, Now, of course, they're the law, but back then it was a Great Leap Forward, paid for by the building tenants' association.

'He removed it—it didn't take long—but the look in his eyes was not lost upon me, and I could, in some limited way, understand his feelings. I needed a shave, I stank of whiskey, my hair was sticking up all over my head, my topcoat was dirty. He would know I no longer went to work; that I'd had my television taken away; that my phone and electrical service had been voluntarily interrupted. He thought I was crazy.

'I may have been crazy but—like Reg—I was not stupid. I turned on the charm. Editors have got to have a certain amount, you know. And I greased the skids with a ten-dollar bill. Finally I was able to smooth things over, but I knew from the way people were looking at me in the next couple of weeks—my last two weeks in the building, as things turned out—that the story had traveled. The fact that no members of the tenants' association approached me to make wounded noises about my ingratitude was particularly telling. I suppose they thought I might take after them with a steak knife.

'All of that was very secondary in my thoughts that evening, however. I sat in the glow of the Coleman lantern, the only light in the three rooms except for all the electricity in Manhattan that came through the windows. I sat with a bottle in one hand, a cigarette in the other, looking at the plate in the ceiling where the smoke detector with its single red eye—an eye which was so unobtrusive in the daytime that I had never even noticed it—had been. I thought of the undeniable fact that, although I'd had all the electricity turned off in my place, there had been that one live item... and where there was one, there might be more.

'Even if there wasn't, the whole building was rotten with wires—it was filled with wires the way a man dying of cancer is filled with evil cells and rotting organs. Closing my eyes I could see all those wires in the darkness of their conduits, glowing with a sort of green nether light. And beyond them, the entire city. One wire, almost harmless in itself, running to a switchplate... the wire behind the switchplate a little thicker, leading down through a conduit to the basement where it joined a still thicker wire... that one leading down under the street to a whole bundle of wires, only those wires so thick that they were really cables.

'When I got Jane Thorpe's letter mentioning the tinfoil, part of my mind recognized that she saw it as a sign of Reg's craziness, and that part knew I would have to respond as if my whole mind thought she was right.

The other part of my mind—by far the largest part now—thought: 'What a marvelous idea!' and I covered my own switchplates in identical fashion the very next day. I was the man, remember, that was supposed to be helping Reg Thorpe. In a desperate sort of way it's actually quite funny.

'I determined that night to leave Manhattan. There was an old family place in the Adirondacks I could go to, and that sounded fine to me. The one thing keeping me in the city was Reg Thorpe's story. If 'The Ballad of the Flexible Bullet' was Reg's life-ring in a sea of madness, it was mine, too—I wanted to place it in a good magazine. With that done, I could get the hell out.

'So that's where the not-so-famous Wilson-Thorpe correspondence stood just before the shit hit the fan.

We were like a couple of dying drug addicts comparing the relative merits of heroin and 'ludes. Reg had Fornits in his typewriter, I had Fornits in the walls, and both of us had Fornits in our heads.

'And there was they. Don't forget they. I hadn't been flogging the story around for long before deciding they included every magazine fiction editor in New York—not that there were many by the fall of 1969. If you'd grouped them together, you could have killed the whole bunch of them with one shotgun shell, and before long I started to feel that was a damned good idea.

'It took about five years before I could see it from their perspective. I'd upset the super, and he was just a guy who saw me when the heat was screwed up and when it was time for his Christmas tip. These other guys... well, the irony was just that a lot of them really were my friends. Jared Baker was the assistant fiction editor at Esquire in those days, and Jared and I were in the same rifle company during World War II, for instance. These guys weren't just uneasy after sampling the new improved Henry Wilson. They were appalled.

If I'd just sent the story around with a pleasant covering letter explaining the situation—my version of it, anyway—I probably would have sold the Thorpe story almost right away. But oh no, that wasn't good enough.

Not for this story. I was going to see that this story got the personal treatment. So I went from door to door with it, a stinking, grizzled ex-editor with shaking hands and red eyes and a big old bruise on his left cheekbone from where he ran into the bathroom door on the way to the can in the dark two nights before. I might as well have been wearing a sign reading BELLEVUE-BOUND

'Nor did I want to talk to these guys in their offices. In fact, I could not. The time had long since passed when I could get into an elevator and ride it up forty floors. So I met them like pushers meet junkies—in parks, on steps, or in the case of Jared Baker, in a Burger Heaven on Forty-ninth Street. Jared at least would have been delighted to buy me a decent meal, but the time had passed, you understand, when any self-respecting maitre d' would have let me in a restaurant where they serve business people.' The agent winced.

'I got perfunctory promises to read the story, followed by concerned questions about how I was, how much I was drinking. I remember—hazily—trying to tell a couple of them about how electricity and radiation leaks were fucking up everyone's thinking, and when Andy Rivers, who edited fiction for American Crossings, suggested I ought to get some help, I told him he was the one who ought to get some help.

' 'You see those people out there on the street?' I said. We were standing in Washington Square Park.

'Half of them, maybe even three-quarters of them, have got brain tumors. I wouldn't sell you Thorpe's story on a bet, Andy. Hell, you couldn't understand it in this city. Your brain's in the electric chair and you don't even know it.'

'I had a copy of the story in my hand, rolled up like a newspaper. I whacked him on the nose with it, the way you'd whack a dog for piddling in the corner. Then I walked off. I remember him yelling for me to come back, something about having a cup of coffee and talking it over some more, and then I passed a discount record store with loudspeakers blasting heavy metal onto the sidewalk and banks of snowy-cold fluorescent lights inside, and I lost his voice in a kind of deep buzzing sound inside my head. I remember thinking two things—1 had to get out of the city soon, very soon, or I would be nursing a brain tumor of my own, and I had to get a drink right away.

'That night when I got back to my apartment I found a note under the door. It said 'We want you out of here, you crazy-bird.' I threw it away without so much as a second thought. We veteran crazy-