Black House

It is as if George Rathbun gives life to Henry Leyden, instead of the other way around. His back is straighter, and he holds his head upright. Two steps bring him to the closed studio door. “It’s a tough catch, my friends, and if Pokey Reese is going to snag that ball, his mitt had better be clean as a whistle. What is he doing out there, folks? Can we believe our eyes? Can he be shoving one hand into his pants pocket? Is he pulling something out? Man oh man, it causes the mind to reel. . . . Pokey is using THE OLD HANDKERCHIEF PLOY! That’s right! He is WIPING his mitt, WIPING his throwing hand, DROPPING the snotrag, GRABBING the handle. . . . And the door is OPEN! Pokey Reese has done it again, he is IN THE STUDIO!”

Henry winds the handkerchief around the ends of his fingers and fumbles for the chair. “And Rafael Furcal seems lost out there, the man is GROPING for the ball. . . . Wait, wait, does he have it? Has he caught an edge? YES! He has the ARM of the ball, he has the BACK of the ball, and he pulls it UP, ladies and gents, the ball is UP on its WHEELS! Furcal sits down, he pushes himself toward the console. We’re facing a lot of blood here, but baseball is a bloody game when they come at you with their CLEATS up.”

With the fingers of his left hand, from which most of the blood has been cleaned, Henry punches the ON switch for the big tape recorder and pulls the microphone close. He is sitting in the dark listening to the sound of tape hissing from reel to reel, and he feels oddly satisfied to be here, doing what he has done night after night for thousands of nights. Velvety exhaustion swims through his body and his mind, darkening whatever it touches. It is too early to yield. He will surrender soon, but first he must do his job. He must talk to Jack Sawyer by talking to himself, and to do that he calls upon the familiar spirits that give him voice.

George Rathbun: “Bottom of the ninth, and the home team is headed for the showers, pal. But the game ain’t OVER till the last BLIND man is DEAD!”

Henry Shake: “I’m talking to you, Jack Sawyer, and I don’t want you to flip out on me or nothin’. Keep cool and listen to your old friend Henry the Sheik the Shake the Shook, all right? The Fisherman paid me a visit, and when he left here he was on his way to Maxton’s. He wants to kill Chipper, the guy who owns the place. Call the police, save him if you can. The Fisherman lives at Maxton’s, did you know that? He’s an old man with a demon inside him. He wanted to stop me from telling you that I recognized his voice. And he wanted to mess with your feelings—he thinks he can screw you up by killing me. Don’t give him that satisfaction, all right?”

The Wisconsin Rat: “BECAUSE THAT WOULD REALLY SUCK! FISH-BRAINS WILL BE WAITING FOR YOU IN A PLACE CALLED BLACK HOUSE, AND YOU HAVE TO BE READY FOR THE BASTARD! RIP HIS NUTS OFF!”

The Rat’s buzz-saw voice ends in a fit of coughing.

Henry Shake, breathing hard: “Our friend the Rat was suddenly called away. The boy has a tendency to get overexcited.”

George Rathbun: “SON, are you trying to tell ME that—”

Henry Shake: “Calm down. Yes, he has a right to be excited. But Jack doesn’t want us to scream at him. Jack wants information.”

George Rathbun: “I reckon you better hurry up and give it to him, then.”

Henry Shake: “This is the deal, Jack. The Fisherman’s not very bright, and neither is his whatever, his demon, who’s called something like Mr. Munching. He’s incredibly vain, too.”

Henry Leyden folds back into the chair and stares at nothing for a second or two. He can feel nothing from the waist down, and blood from his right hand has pooled around the microphone. From the stumps of his fingers comes a steady, diminishing pulse.

George Rathbun: “Not now, Chuckles!”

Henry Leyden shakes his head and says, “Vain and stupid you can beat, my friend. I have to sign off now. Jack, you don’t have to feel too bad about me. I had a goddamn wonderful life, and I’m going to be with my darling Rhoda now.” He smiles in the darkness; his smile widens. “Ah, Lark. Hello.”

At times, it is possible for the smell of blood to be like laughter.

What is this, at the end of Nailhouse Row? A horde, a swarm of fat, buzzing things that circle and dart about Jack Sawyer, in the dying light seeming almost illuminated, like the radiant pages of a sacred text. Too small to be hummingbirds, they seem to carry their own individual, internal glow as they mesh through the air. If they are wasps, Jack Sawyer is going to be in serious trouble. Yet they do not sting; their round bodies brush his face and hands, blundering softly against his body as a cat will nudge its owner’s leg, both giving and receiving comfort.

At present, they give much more comfort than they receive, and even Jack cannot explain why this should be so. The creatures surrounding him are not wasps, hummingbirds, or cats, but they are bees, honeybees, and ordinarily he would be frightened to be caught in a swarm of bees. Especially if they appeared to be members of a sort of master bee race, superbees, larger than any he has seen before, their golds more golden, their blacks vibrantly black. Yet Jack is not frightened. If they were going to sting him, they would already have done it. And from the first, he understood that they meant him no harm. The touch of their many bodies is surpassingly smooth and soft; their massed buzzing is low and harmonious, as peaceable as a Protestant hymn. After the first few seconds, Jack simply lets it happen.

The bees sift even closer, and their low noise pulses in his ears. It sounds like speech, or like song. For a moment, all he can see is a tightly woven network of bees moving this way and that; then the bees settle everywhere on his body but the oval of his face. They cover his head like a helmet. They blanket his arms, his chest, his back, his legs. Bees land on his shoes and obscure them from view. Despite their number, they are almost weightless. The exposed parts of Jack’s body, his hands and neck, feel as though wrapped in cashmere. A dense, feather-light bee suit shimmers black and gold all over Jack Sawyer. He raises his arms, and the bees move with him.

Jack has seen photographs of beekeepers aswarm with bees, but this is no photograph and he is no beekeeper. His amazement—really, his sheer pleasure in the unexpectedness of this visitation—stuns him. For as long as the bees cling to him, he forgets Mouse’s terrible death and the next day’s fearsome task. What he does not forget is Sophie; he wishes Beezer and Doc would walk outside, so they could see what is happening, but more than that, he wishes Sophie could see it. Perhaps, by grace of d’yamba, she does. Someone is comforting Jack Sawyer, someone is wishing him well. A loving, invisible presence offers him support. It feels like a blessing, that support. Clothed in his glowing black-and-yellow bee suit, Jack has the idea that if he stepped toward the sky, he would be airborne. The bees would carry him over the valleys. They would carry him over the wrinkled hills. Like the winged men in the Territories who carried Sophie, he would fly. Instead of their two, he would have two thousand wings to bear him up.

In our world, Jack remembers, bees return to the hive before nightfall. As if reminded of their daily routine, the