Skeleton Crew

Kick me all you want, it seemed to tell him, I'm nothing but cogs and clockwork and a worm gear or two, kick me all you feel like, I'm not real, just a funny clockwork monkey is all I am, and who's dead? There's been an explosion at the helicopter plant! What's that rising up into the sky like a big bloody bowling ball with eyes where the finger-holes should be? Is it your mother's head, Hal? Whee! What a ride your mother's head is having/ Or down at Brook Street Corner! Looky-here, pard! The car was going too fast!

The driver was drunk! There's one Bill less in the world! Could you hear the crunching sound when the wheels ran over his skull and his brains squirted out his ears? Yes? No?

Maybe? Don't ask me, I don't know, I can't know, all I know how to do is beat these cymbals together jang-jang-jang, and who's Dead at the Scene, Hal? Your mother? Your brother? Or is it you, Hal? Is it you?

He rushed at it again, meaning to stomp it, smash it, jump on it until cogs and gears flew and its horrible glass eyes rolled along the floor. But just as he reached it, its cymbals came together once more, very softly... (jang)... as a spring somewhere inside expanded one final, minute notch and a sliver of ice seemed to whisper its way through the walls of his heart, impaling it, stilling its fury and leaving him sick with terror again.

The monkey almost seemed to know—how gleeful its grin seemed!

He picked it up, tweezing one of its arms between the thumb and first finger of his right hand, mouth drawn down in a bow of loathing, as if it were a corpse he held. Its mangy fake fur seemed hot and fevered against his skin. He fumbled open the tiny door that led to the back closet and turned on the bulb. The monkey grinned at him as he crawled down the length of the storage area between boxes piled on top of boxes, past the set of navigation books and the photograph albums with their fume of old chemicals and the souvenirs and the old clothes, and Hal thought: If it begins to clap its cymbals together now and move in my hand, l'll scream, and if I scream, it'll do more than grin, it'll start to laugh, to laugh at me, and then I'll go crazy and they'll find me in here, drooling and laughing crazy, I'll be crazy, oh please dear God, please dear Jesus, don't let me go crazy—He reached the far end and clawed two boxes aside, spilling one of them, and jammed the monkey back into the Ralston-Purina box in the farthest corner. And it leaned in there, comfortably, as if home at last, cymbals poised, grinning its simian grin, as if the joke were still on Hal. Hal crawled backward, sweating, hot and cold, all fire and ice, waiting for the cymbals to begin, and when they began, the monkey would leap from its box and scurry beetlelike toward him, clockwork whirring, cymbals clashing madly, and—and none of that happened. He turned off the light and slammed the small down-the-rabbit-hole door and leaned on it, panting. At last he began to feel a little better.

He went downstairs on rubbery legs, got an empty bag, and began carefully to pick up the jogged shards and splinters of the broken milk bottle, wondering if he was going to cut himself and bleed to death, if that was what the clapping cymbals had meant. But that didn't happen, either. He got a towel and wiped up the milk and then sat down to see if his mother and brother would come home.

His mother came first, asking, 'Where's Bill?' In a low, colorless voice, now sure that Bill must be Dead at some Scene, Hal started to explain about the school play meeting, knowing that, even given a very long meeting, Bill should have been home half an hour ago.

His mother looked at him curiously, started to ask what was wrong, and then the door opened and Bill came in—only it was not Bill at all, not really. This was a ghost- Bill, pale and silent.

'What's wrong?' Shelburn exclaimed. 'Bill, what's wrong'?' Bill began to cry and they got the story, through his tears. There had been a car, he said. He and his friend Charlie Silverman were walking home together after the meeting and the car came around Brook Street Corner too fast and Charlie had frozen, Bill had tugged Charlie's hand once but had lost his grip and the car—Bill began to bray out loud, hysterical sobs, and his mother hugged him to her, rocking him, and Hal looked out on the porch and saw two policemen standing there. The squad car in which they had conveyed Bill home was standing at the curb. Then he began to cry himself... but his tears were tears of relief.

It was Bill's turn to have nightmares now dreams in which Charlie Silverman died over and over again, knocked out of his Red Ryder cowboy boots and was flipped onto the hood of the rusty Hudson Hornet the drunk had been piloting. Charlie Silverman's head and the Hudson's windshield had met with explosive force. Both had shattered. The drunk driver, who owned a candy store in Milford. suffered a heart attack shortly after being taken into custody (perhaps it was the sight of Charlie Silverman's brains drying on his pants), and his lawyer was quite successful at the trial with his 'this man has been punished enough' theme. The drunk was given sixty days (suspended) and lost his privilege to operate a motor vehicle in the state of Connecticut for five years... which was about as long as Bill Shelburn's nightmares lasted. The monkey was hidden away again in the back closet. Bill never noticed it was gone from his shelf... or if he did, he never said.

Hal felt safe for a while He even began to forget about the monkey again, or to believe it had only been a bad dream. But when he came home from school on the afternoon his mother died, it was back on his shelf, cymbals poised, grinning down at him.

He approached it slowly, as if from outside himself as if his own body had been turned into a wind-up toy at the sight of the monkey. He saw his hand reach out and take it down. He felt the nappy fur cnnkle under his hand, but the feeling was muffled, mere pressure, as if someone had shot him full of Novocain. He could hear his breathing, quick and dry, like the rattle of wind through straw.

He turned it over and grasped the key and years later he would think that his drugged fascination was like that of a man who puts a six-shooter with one loaded chamber against a closed and jittering eyelid and pulls the trigger.

No don't—let it alone throw it away don't touch it—He turned the key and in the silence he heard a perfect tiny series of winding-up clicks. When he let the key go, the monkey began to clap its cymbals together and he could feel its body jerking, bend-and-jerk, bend-and-jerk, as if it were alive, it was alive, writhing in his hand like some loathsome pygmy, and the vibration he felt through its balding brown fur was not that of turning cogs but the beating of its heart.

With a groan, Hal dropped the monkey and backed away, fingernails digging into the flesh under his eyes, palms pressed to his mouth. He stumbled over something and nearly lost his balance (then he would have been right down on the floor with it, his bulging blue eyes looking into its glassy hazel ones). He scrambled toward the door, backed through it, slammed it, and leaned against it. Suddenly he bolted for the bathroom and vomited.

It was Stukey from the helicopter plant who brought the news and stayed with them those first two endless nights, until Aunt Ida got down from Maine. Their mother had died of a brain embolism in the middle of the afternoon. She had been standing at the water cooler with a cup of water in one hand and had crumpled as if shot, still holding the paper cup in one hand. With the other she had clawed at the water cooler and had pulled the great glass bottle of Poland water down with her. It had shattered... but the plant doctor, who came on the run, said later