Black House

feathers, didn’t I? Sent you a robin’s egg, didn’t I? Sent you more’n one.”

“Why can’t people leave me alone?” Jack asks. His voice is suspiciously close to a whine. Not a pretty sound. “You . . . Henry . . . Dale . . .”

“Quit on it now,” Speedy says, growing stern. “Ain’t got no more time to ask you nice. The game has gotten rough. Ain’t it?”

“Speedy—”

“You got your job and I got mine. Same job, too. Don’t you whine at me, Jack, and don’t make me chase you no mo’. You’re a coppiceman, same as ever was.”

“I’m retired—”

“Shit on your retired! The kids he killed, that’s bad enough. The kids he might kill if he’s let to go on, that’s worse. But the one he’s got . . .” Speedy leans forward, dark eyes blazing in his dark face. “That boy has got to be brought back, and soon. If you can’t get him back, you got to kill him yourself, little as I like to think of it. Because he’s a Breaker. A powerful one. One more might be all he needs to take it down.”

“Who might need?” Jack asks.

“The Crimson King.”

“And what is it this Crimson King wants to take down?”

Speedy looks at him a moment, then starts to play that perky tune again instead of answering. “There’ll be no more sobbin’ when he starts throbbin’ his old sweet song . . .”

“Speedy, I can’t!”

The tune ends in a discordant jangle of strings. Speedy looks at twelve-year-old Jack Sawyer with a coldness that chills the boy inward all the way to the hidden man’s heart. And when he speaks again, Speedy Parker’s faint southern accent has deepened. It has filled with a contempt that is almost liquid.

“You get busy now, hear me? Y’all quit whinin’ and cryin’ and slackin’ off. Y’all pick up yo’ guts from wherever you left ’em and get busy!”

Jack steps back. A heavy hand falls on his shoulder and he thinks, It’s Uncle Morgan. Him or maybe Sunlight Gardener. It’s 1981 and I’ve got to do it all over again—

But that is a boy’s thought, and this is a man’s dream. Jack Sawyer as he is now thrusts the child’s acquiescing despair away. No, not at all. I deny that. I have put those faces and those places aside. It was hard work, and I won’t see it all undone by a few phantom feathers, a few phantom eggs, and one bad dream. Find yourself another boy, Speedy. This one grew up.

He turns, ready to fight, but no one’s there. Lying behind him on the boardwalk, on its side like a dead pony, is a boy’s bicycle. There’s a license plate on the back reading BIG MAC. Scattered around it are shiny crow’s feathers. And now Jack hears another voice, cold and cracked, ugly and unmistakably evil. He knows it’s the voice of the thing that touched him.

“That’s right, asswipe. Stay out of it. You mess with me and I’ll strew your guts from Racine to La Riviere.”

A spinning hole opens in the boardwalk just in front of the bike. It widens like a startled eye. It continues to widen, and Jack dives for it. It’s the way back. The way out. The contemptuous voice follows him.

“That’s right, jackoff,” it says. “Run! Run from the abbalah! Run from the King! Run for your miserable fucking life!” The voice dissolves into laughter, and it is the mad sound of that laughter which follows Jack Sawyer down into the darkness between worlds.

Hours later, Jack stands naked at his bedroom window, absently scratching his ass and watching the sky lighten in the east. He’s been awake since four. He can’t remember much of his dream (his defenses may be bending, but even now they have not quite broken), yet enough of it lingers for him to be sure of one thing: the corpse on the Santa Monica Pier upset him so badly that he quit his job because it reminded him of someone he once knew.

“All of that never happened,” he tells the coming day in a falsely patient voice. “I had a kind of preadolescent breakdown, brought on by stress. My mother thought she had cancer, she grabbed me, and we ran all the way to the East Coast. All the way to New Hampshire. She thought she was going back to the Great Happy Place to die. Turned out to be mostly vapors, some goddamn actress midlife crisis, but what does a kid know? I was stressed. I had dreams.”

Jack sighs.

“I dreamed I saved my mother’s life.”

The phone behind him rings, the sound shrill and broken in the shadowy room.

Jack Sawyer screams.

“I woke you up,” Fred Marshall says, and Jack knows at once that this man has been up all night, sitting in his wifeless, sonless home. Looking at photo albums, perhaps, while the TV plays. Knowing he is rubbing salt into the wounds but unable to quit.

“No,” Jack says, “actually I was—”

He stops. The phone’s beside the bed and there’s a pad beside the phone. There’s a note written on the pad. Jack must have written it, since he’s the only one here—ella-fucking-ment’ry, my dear Watson—but it isn’t in his handwriting. At some point in his dream, he wrote this note in his dead mother’s handwriting.

The Tower. The Beams. If the Beams are broken, Jacky-boy, if the Beams are broken and the Tower falls

There’s no more. There is only poor old Fred Marshall, who has discovered how quickly things can go bad in the sunniest midwestern life. Jack’s mouth has attempted to say a couple of things while his mind is occupied with this forgery from his subconscious, probably not very sensible things, but that doesn’t bother Fred; he simply goes droning along with none of the stops and drops that folks usually employ to indicate the ends of sentences or changes of thought. Fred is just getting it out, unloading, and even in his own distressed state Jack realizes that