Night Shift

by Stephen King

  I gave Tookey my hand and pulled him onto his feet. "Are you all--" "Never mind me," he says. "We've got to get hold of him, Booth."

  We went after him as fast as we could, which wasn't very fast with the snow hip-deep in some places. But then he stopped and we caught up to him.

  "Mr. Lumley--" Tookey started, laying a hand on his shoulder. "This way," Lumley said. "This is the way they went. Look!"

  We looked down. We were in a kind of dip here, and most of the wind went right over our heads. And you could see two

  sets of tracks, one large and one small, just filling up with snow. If we had been five minutes later, they would have been gone.

  He started to walk away, his head down, and Tookey grabbed him back. "No! No, Lumley!"

  Lumley turned his wild face up to Tookey's and made a fist. He drew it back . . . but something in Tookey's face made him falter. He looked from Tookey to me and then back again.

  "She'll freeze," he said, as if we were a couple of stupid kids. "Don't you get it? She doesn't have her jacket on and she's only seven years old--"

  "They could be anywhere," Tookey said. "You can't follow those tracks. They'll be gone in the next drift."

  "What do you suggest?" Lumley yells, his voice high and hysterical. "If we go back to get the police, she'll freeze to death! Francie and my wife!"

  "They may be frozen already," Tookey said. His eyes caught Lumley's. "Frozen, or something worse." "What do you mean?" Lumley whispered. "Get it straight, goddamn it! Tell me!"

  "Mr. Lumley," Tookey says, "there's something in the Lot--"

  But I was the one who came out with it finally, said the word I never expected to say. "Vampires, Mr. Lumley. Jerusalem's Lot is full of vampires. I expect that's hard for you to swallow--"

  He was staring at me as if I'd gone green. "Loonies," he whispers. "You're a couple of loonies." Then he turned away, cupped his hands around his mouth, and bellowed, "FRANCIE! JANEY!" He started floundering off again. The snow was up to the hem of his fancy coat.

  I looked at Tookey. "What do we do now?"

  "Follow him," Tookey says. His hair was plastered with snow, and he did look a little bit loony. "I can't just leave him out here. Booth. Can you?"

  "No," I says. "Guess not."

  So we started to wade through the snow after Lumley as best we could. But he kept getting further and further ahead. He had his youth to spend, you see. He was breaking the trail, going through that snow like a bull. My arthritis began to bother me something terrible, and I started to look down at my legs, telling myself: A little further, just a little further, keep goin', damn it, keep goin' . . .

  I piled right into Tookey, who was standing spread-legged in a drift. His head was hanging and both of his hands were pressed to his chest.

  "Tookey," I says, "you okay?"

  "I'm all right," he said, taking his hands away. "We'll stick with him, Booth, and when he fags out he'll see reason."

  We topped a rise and there was Lumley at the bottom, looking desperately for more tracks. Poor man, there wasn't a chance he was going to find them. The wind blew straight across down there where he was, and any tracks would have been rubbed out three minutes after they was made, let alone a couple of hours.

  He raised his head and screamed into the night: "FRANCIE! JANEY! FOR GOD'S SAKE!" And you could hear the desperation in his voice, the terror, and pity him for it. The only answer he got was the freight-train wail of the wind. It almost seemed to be laughin' at him, saying: I took them Mister New Jersey with your fancy car and camel's-hair topcoat. I took them and I rubbed out their tracks and by morning I'll have them just as neat and frozen as two strawberries in a deepfreeze . . .

  "Lumley!" Tookey bawled over the wind. "Listen, you never mind vampires or boogies or nothing like that, but you mind this! You're just making it worse for them! We got to get the--"

  And then there was an answer, a voice coming out of the dark like little tinkling silver bells, and my heart turned cold as ice in a cistern.

  "Jerry . . .Jerry, is that you?"

  Lumley wheeled at the sound. And then she came, drifting out of the dark shadows of a little copse of trees like a ghost. She was a city woman, all right, and right then she seemed like the most beautiful woman I had ever seen. I felt like I wanted to go to her and tell her how glad I was she was safe after all. She was wearing a heavy green pullover sort of thing, a poncho, I believe they're called. It floated all around her, and her dark hair streamed out in the wild wind like water in a December creek, just before the winter freeze stills it and locks it in.

  Maybe I did take a step toward her, because I felt Tookey's hand on my shoulder, rough and warm. And still--how can I say it?--I yearned after her, so dark and beautiful with that green poncho floating around her neck and shoulders, as exotic and strange as to make you think of some beautiful woman from a Walter de la Mare poem.

  "Janey!" Lumley cried. "Janey!" He began to struggle through the snow toward her, his arms outstretched. "No!" Tookey cried. "No, Lumley!"

  He never even looked . . . but she did. She looked up at us and grinned. And when she did, I felt my longing, my yearning turn to horror as cold as the grave, as white and silent as bones in a shroud. Even from the rise we could see the sullen red glare in those eyes. They were less human than a wolf's eyes. And when she grinned you could see how long her teeth had become. She wasn't human anymore. She was a dead thing somehow come back to life in this black howling storm.

  Tookey made the sign of the cross at her. She flinched back . . . and then grinned at us again. We were too far away, and maybe too scared.

  "Stop it!" I whispered. "Can't we stop it?" "Too late, Booth!" Tookey says grimly.

  Lumley had reached her. He looked like a ghost himself, coated in snow like he was. He reached for her . . . and then he began to scream. I'll hear that sound in my dreams, that man screaming like a child in a nightmare. He tried to back away from her, but her arms, long and bare and as white as the snow, snaked out and pulled him to her. I could see her cock her head and then thrust it forward--

  "Booth!" Tookey said hoarsely. "We've got to get out of here!"

  And so we ran. Ran like rats, I suppose some would say, but those who would weren't there that night. We fled back down along our own backtrail, falling down, getting up again, slipping and sliding. I kept looking back over my shoulder to see if that woman was coming after us, grinning that grin and watching us with those red eyes.

  We got back to the Scout and Tookey doubled over, holding his chest. "Tookey!" I said, badly scared. "What--"

  "Ticker," he said. "Been bad for five years or more. Get me around in the shotgun seat, Booth, and then get us the hell out of here."

  I hooked an arm under his coat and dragged him around and somehow boosted him up and in. He leaned his head back and shut his eyes. His skin was waxy-looking and yellow.

  I went back around the hood of the truck at a trot, and I damned near ran into the little girl. She was just standing there beside the driver's-side door, her hair in pigtails, wearing nothing but a little bit of a yellow dress.

  "Mister," she said in a high, clear voice, as sweet as morning mist, "won't you help me find my mother? She's gone and I'm so cold--"

  "Honey," I said, "honey, you better get in the truck. Your mother's--"

  I broke off, and if there was ever a time in my life I was close to swooning, that was the moment. She was standing there, you see, but she was standing on top of the snow and there were no tracks, not in any direction.

  She looked up at me then, Lumley's daughter Francie. She was no more than seven years old, and she was going to be seven for an eternity of nights. Her little face was a ghastly corpse white, her eyes a red and silver that you could fall into. And below her jaw I could see two small punctures like pinpricks, their edges horribly mangled.

  She held out her arms at me and smiled. "Pick me up, mister," she said softly. "I want to give you a kiss. Then you can take to my mommy."


  I didn't want to, but there was nothing I could do. I was leaning forward, my arms outstretched. I could see her mouth opening, I could see the little fangs inside the pink ring of her lips. Something slipped down her chin, bright and silvery, and with a dim, distant, faraway horror, I realized she was drooling.

  Her small hands clasped themselves around my neck and I was thinking: Well, maybe it won't be so bad, not so bad, maybe it won't be so awful after a while--when something black flew out of the Scout and struck her on the chest. There was a puff of strange-smelling smoke, a flashing glow that was gone an instant later, and then she was backing away, hissing. Her face was twisted into a vulpine mask of rage, hate, and pain. She turned sideways and then . . . and then she was gone. One moment she was there, and the next there was a twisting knot of snow that looked a little bit like a human shape. Then the wind tattered it away across the fields.

  "Booth!" Tookey whispered. "Be quick, now!"

  And I was. But not so quick that I didn't have time to pick up what he had thrown at that little girl from hell. His mother's Douay Bible.

  That was some time ago. I'm a sight older now, and I was no chicken then. Herb Tooklander passed on two years ago. He went peaceful, in the night. The bar is still there, some man and his wife from Waterville bought it, nice people, and they've kept it pretty much the same. But I don't go by much. It's different somehow with Tookey gone.

  Things in the Lot go on pretty much as they always have. The sheriff found that fellow Lumley's car the next day, out of gas, the battery dead. Neither Tookey nor I said anything about it. What would have been the point? And every now and then a hitchhiker or a camper will disappear around there someplace, up on Schoolyard Hill or out near the Harmony Hill cemetery. They'll turn up the fellow's packsack or a paperback book all swollen and bleached out by the rain or snow, or some such. But never the people.

  I still have bad dreams about that stormy night we went out there. Not about the woman so much as the little girl, and the way she smiled when she held her arms up so I could pick her up. So she could give me a kiss. But I'm an old man and the time comes soon when dreams are done.

  You may have an occasion to be traveling in southern Maine yourself one of these days. Pretty part of the countryside. You may even stop by Tookey's Bar for a drink. Nice place. They kept the name just the same. So have your drink, and then my advice to you is to keep right on moving north. Whatever you do, don't go up that road to Jerusalem's Lot.

  Especially not after dark.

  There's a little girl somewhere out there. And I think she's still waiting for her good-night kiss.

  THE WOMAN IN THE ROOM

  The question is: Can he do it?

  He doesn't know. He knows that she chews them sometimes, her face wrinkling at the awful orange taste, and a sound comes from her mouth like splintering popsicle sticks. But these are different pills . . . gelatin capsules. The box says DARVON COMPLEX on the outside. He found them in her medicine cabinet and turned them over in his hands, thinking. Something the doctor gave her before she had to go back to the hospital. Something for the ticking nights. The medicine cabinet is full of remedies, neatly lined up like a voodoo doctor's cures. Gris-gris of the Western world. FLEET SUPPOSITORIES. He has never used a suppository in his life and the thought of putting a waxy something in his rectum to soften by body heat makes him feel ill. There is no dignity in putting things up your ass. PHILLIPS MILK OF MAGNESIA. ANACIN ARTHRITIS PAIN FORMULA. PEPTO-BISMOL. More. He can trace the course of her illness through the medicines.

  But these pills are different. They are like regular Darvon only in that they are gray gelatin capsules. But they are bigger, what his dead father used to call hosscock pills. The box says Asp. 350 gr, Darvon 100 gr, and could she chew them even if he was to give them to her? Would she? The house is still running; the refrigerator runs and shuts off, the furnace kicks in and out, every now and then the cuckoo bird pokes grumpily out of the clock to announce an hour or a half. He supposes that after she dies it will fall to Kevin and him to break up housekeeping. She's gone, all right. The whole house says so. She

  is in the Central Maine Hospital, in Lewiston. Room 312. She went when the pain got so bad she could no longer go out to the kitchen and make her own coffee. At times, when he visited, she cried without knowing it.

  The elevator creaks going up, and he finds himself examining the blue elevator certificate. The certificate makes it clear that the elevator is safe, creaks or no creaks. She has been here for nearly three weeks now and today they gave her an operation called a "cortotomy." He is not sure if that is how it's spelled, but that is how it sounds. The doctor has told her that the "cortotomy" involves sticking a needle into her neck and then into her brain. The doctor has told her that this is like sticking a pin into an orange and spearing a seed. When the needle has poked into her pain center, a radio signal will be sent down to the tip of the needle and the pain center will be blown out. Like unplugging a TV. Then the cancer in her belly will stop being such a nuisance.

  The thought of this operation makes him even more uneasy than the thought of suppositories melting warmly in his anus. It makes him think of a book by Michael Crichton called The Terminal Man, which deals with putting wires in people's heads. According to Crichton, this can be a very bad scene. You better believe it.

  The elevator door opens on the third floor and he steps out. This is the old wing of the hospital, and it smells like the sweet-smelling sawdust they sprinkle over puke at a county fair. He has left the pills in the glove compartment of his car. He has not had anything to drink before this visit.

  The walls up here are two-tone: brown on the bottom and white on top. He thinks that the only two-tone combination in the whole world that might be more depressing than brown and white would be pink and black. Hospital corridors like giant Good 'n' Plentys. The thought makes him smile and feel nauseated at the same time.

  Two corridors meet in a T in front of the elevator, and there is a drinking fountain where he always stops to put things off a little. There are pieces of hospital equipment here and there, like strange playground toys. A litter with chrome sides and rubber wheels, the sort of thing they use to wheel you up to the "OR" when they are ready to give you your "cortotomy." There is a large circular object whose function is unknown to him. It looks like the wheels you sometimes see in squirrel cages. There is a rolling IV tray with two bottles hung from it, like a Salvador Dali dream of tits. Down one of the two corridors is the nurses' station, and laughter fueled by coffee drifts out to him.

  He gets his drink and then saunters down toward her room. He is scared of what he may find and hopes she will be sleeping. If she is, he will not wake her up.

  Above the door of every room there is a small square light. When a patient pushes his call button this light goes on, glowing red. Up and down the hall patients are walking slowly, wearing cheap hospital robes over their hospital underwear. The robes have blue and white pinstripes and round collars. The hospital underwear is called a "johnny." The "johnnies" look all right on the women but decidedly strange on the men because they are like knee-length dresses or slips. The men always seem to wear brown imitation-leather slippers on their feet. The women favor knitted slippers with balls of yarn on them. His mother has a pair of these and calls them "mules."

  The patients remind him of a horror movie called The Night of the Living Dead. They all walk slowly, as if someone had unscrewed the tops of their organs like mayonnaise jars and liquids were sloshing around inside. Some of them use canes. Their slow gait as they promenade up and down the halls is frightening but also dignified. It is the walk of people who are going nowhere slowly, the walk of college students in caps and gowns filing into a convocation hall.

  Ectoplasmic music drifts everywhere from transistor radios. Voices babble. He can hear Black Oak Arkansas singing "Jim Dandy" ("Go Jim Dandy, go Jim Dandy!" a falsetto voice screams merrily at the slow hall walkers). He can hear a talk-show host discussing
Nixon in tones that have been dipped in acid like smoking quills. He can hear a polka with French lyrics-- Lewiston is still a French-speaking town and they love their jigs and reels almost as much as they love to cut each other in

  the bars on lower Lisbon Street.

  He pauses outside his mother's room and

  for a while there he was freaked enough to come drunk. It made him ashamed to be drunk in front of his mother even though she was too doped and full of Elavil to know. Elavil is a tranquilizer they give to cancer patients so it won't bother them so much that they're dying.

  The way he worked it was to buy two six-packs of Black Label beer at Sonny's Market in the afternoon. He would sit with the kids and watch their afternoon programs on TV. Three beers with "Sesame Street," two beers during "Mister Rogers," one beer during "Electric Company." Then one with supper.

  He took the other five beers in the car. It was a twenty-two-mile drive from Raymond to Lewiston, via Routes 302 and 202, and it was possible to be pretty well in the bag by the time he got to the hospital, with one or two beers left over. He would bring things for his mother and leave them in the car so there would be an excuse to go back and get them and also drink another half beer and keep the high going.