The Bachman Books

wasn't hurrying that fast.

I started down to Room 16. I paused just as I got there, my hand on the doorknob, looking back. The smoke was really pouring out of the vents now, and a dark, sooty stain was spreading up the front of my locker. The Con- Tact paper had turned brown. You couldn't see the letters that made my name anymore.

I don't think there was anything in my brain fight then except the usual background static-the kind~you get on your radio when it's turned up all the way and tuned to no station at all. My brain had checked to the power, so to speak; the little guy wearing the Napoleon hat inside was showing aces and betting them.

I turned back to Room 16 and opened the door. I was hoping, but I didn't know what.

Chapter 9

' . . . So you understand that when we increase the number of variables, the axioms themselves never change. For example-'

Mrs. Underwood looked up alertly, pushing her harlequin glasses up on her nose. 'Do you have an office pass, Mr. Decker?'

'Yes,' I said, and took the pistol out of my belt. I wasn't even sure it was loaded until it went off. I shot her in the head. Mrs. Underwood never knew what hit her, I'm sure. She fell sideways onto her desk and then rolled onto the floor, and that expectant expression never left her face.

Chapter 10

Sanity:

You can go through your whole life telling yourself that life is logical, life is prosaic, life is sane. Above all, sane. And I think it is. I've had a lot of time to think about that. And what I keep coming back to is Mrs. Underwood's dying declaration: So you understand that when we increase the number of variables, the axioms themselves never change.

I really believe that.

I think; therefore I am. There are hairs on my face; therefore I shave. My wife and child have been critically injured in a car crash; therefore I pray. It's all logical, it's all sane. We live in the best of all possible worlds, so hand me a Kent for my left, a Bud for my right, turn on Starsky and Hutch, and listen to that soft, harmonious note that is the universe turning smoothly on its celestial gyros. Logic and sanity. Like Coca-Cola, it's the real thing.

But as Warner Brothers, John D. MacDonald, and Long Island Dragway know so well, there's a Mr. Hyde for every happy Jekyll face, a dark face on the other side of the mirror. The brain behind that face never heard of razors, prayers, or the logic of the universe. You turn the mirror sideways and see your face reflected with a sinister left-hand twist, half mad and half sane. The astronomers call that line between light and dark the terminator.

The other side says that the universe has all the logic of a little kid in a Halloween cowboy suit with his guts and his trick-or-treat candy spread all over a mile of Interstate 95. This is the logic of napalm, paranoia, suitcase bombs carried by happy Arabs, random carcinoma. This logic eats itself. It says life is a monkey on a stick, it says life spins as hysterically and erratically as the penny you flick to see who buys lunch.

No one looks at that side unless they have to, and I can understand that. You look at it if you hitch a ride with a drunk in a GTO who puts it up to one-ten and starts blubbering about how his wife turned him out; you look at it if some guy decides to drive across Indiana shooting kids on bicycles; you look at it if your sister says 'I'm going down to the store for a minute, big guy' and then gets killed in a stickup. You look at it when you hear your dad talking about slitting your mom's nose.

It's a roulette wheel, but anybody who says the game is rigged is whining. No matter how many numbers there are, the principle of that little white jittering ball never changes. Don't say it's crazy. It's all so cool and sane.

And all that weirdness isn't just going on outside. It's in you too, right now, growing in the dark like magic mushrooms. Call it the Thing in the Cellar. Call it the Blow Lunch Factor. Call it the Loony Tunes File. I think of it as my private dinosaur, huge, slimy, and mindless, stumbling around in the stinking swamp of my subconscious, never finding a tarpit big enough to hold it.

But that's me, and I started to tell you about them, those bright college-bound students that, metaphorically speaking, walked down to the store to get milk and ended up in the middle of an armed robbery. I'm a documented case, routine grist for the newspaper mill. A thousand newsboys hawked me on a thousand street corners. I had fifty seconds on Chancellor-Brinkley and a column and a half in Time. And I stand here before you (metaphorically speaking, again) and tell you I'm perfectly sane. I do have one slightly crooked wheel upstairs, but everything else is ticking along just four-o, thank you very much.

So, them. How do you understand them? We have to discuss that, don't we?

'Do you have an office pass, Mr. Decker?' she asked me.

'Yes,' I said, and took the pistol out of my belt. I wasn't even sure it was loaded until it went off. I shot her in the head. Mrs. Underwood never knew what hit her, I'm sure. She fell sideways onto her desk and then rolled onto the floor, and that expectant expression never left her face.

I'm the sane one: I'm the croupier, I'm the guy who spins the ball against the spin of the wheel. The guy who lays his money on odd/even, the girl who lays her money on black/red . . . what about them?

There isn't any division of time to express the marrow of our lives, the time between the explosion of lead from the muzzle and the meat impact, between the impact and the darkness. There's only barren instant replay that shows nothing new.

I shot her; she fell; and there was an indescribable moment of silence, an infinite duration of time, and we all stepped back, watching the ball go around and around, ticking, bouncing, lighting for an instant, going on, heads and tails, red and black, odd and even.

I think that moment ended. I really do. But sometimes, in the dark, I think that hideous random moment is still going on, that the wheel is even yet in spin, and I dreamed all the rest.