by Stephen King
Philip Sawyer had underestimated Morgan Sloat from the time of their first meeting, when they were freshmen at Yale. It could have been, Sloat reflected, that he had been easy to underestimate--a pudgy eighteen-year-old from Akron, graceless, overweighted with anxieties and ambitions, out of Ohio for the first time in his life. Listening to his classmates talk easily about New York, about "21" and the Stork Club, about seeing Brubeck at Basin Street and Erroll Garner at the Vanguard, he'd sweated to hide his ignorance. "I really like the downtown part," he'd thrown in, as casually as he could. Palms wet, cramped by curled-in fingers. (Mornings, Sloat often found his palms tattooed with dented bruises left by his fingernails.) "What downtown part, Morgan?" Tom Woodbine had asked him. The others cackled. "You know, Broadway and the Village. Around there." More cackles, harsher. He had been unattractive and badly dressed; his wardrobe consisted of two suits, both charcoal-gray and both apparently made for a man with a scarecrow's shoulders. He had begun losing his hair in high school, and pink scalp showed through his short, flattened-down haircuts.
No, no beauty had Sloat been, and that had been part of it. The others made him feel like a clenched fist: those morning bruises were shadowy little photographs of his soul. The others, all interested in the theater like himself and Sawyer, possessed good profiles, flat stomachs, easy careless manners. Sprawled across the lounge chairs of their suite in Davenport while Sloat, in a haze of perspiration, stood that he might not wrinkle his suit pants and thereby get a few more days' wear out of them, they sometimes resembled a gathering of young gods--cashmere sweaters draped over their shoulders like the golden fleece. They were on their way to becoming actors, playwrights, songwriters. Sloat had seen himself as a director: entangling them all in a net of complications and designs which only he could unwind.
Sawyer and Tom Woodbine, both of whom seemed unimaginably rich to Sloat, were roommates. Woodbine had only a lukewarm interest in theater and hung around their undergraduate drama workshop because Phil did. Another gilded private-school boy, Thomas Woodbine differed from the others because of his absolute seriousness and straightforwardness. He intended to become a lawyer, and already seemed to have the probity and impartiality of a judge. (In fact, most of Woodbine's acquaintances imagined that he would wind up on the Supreme Court, much to the embarrassment of the boy himself.) Woodbine was without ambition in Sloat's terms, being interested far more in living rightly than in living well. Of course he had everything, and what he by some accident lacked other people were quick to give him: how could he, so spoiled by nature and friendships, be ambitious? Sloat almost unconsciously detested Woodbine, and could not bring himself to call him "Tommy."
Sloat directed two plays during his four years at Yale: No Exit, which the student paper called "a furious confusion," and Volpone. This was described as "churning, cynical, sinister, and almost unbelievably messy." Sloat was held responsible for most of these qualities. Perhaps he was not a director after all--his vision too intense and crowded. His ambitions did not lessen, they merely shifted. If he was not eventually to be behind the camera, he could be behind the people in front of it. Phil Sawyer had also begun to think this way--Phil had never been certain where his love of theater might take him, and thought he might have a talent for representing actors and writers. "Let's go to Los Angeles and start an agency," Phil said to him in their senior year. "It's nutty as hell and our parents will hate it, but maybe we'll make it work. So we starve for a couple of years."
Phil Sawyer, Sloat had learned since their freshman year, was not rich after all. He just looked rich.
"And when we can afford him, we'll get Tommy to be our lawyer. He'll be out of law school by then."
"Sure, okay," Sloat had said, thinking that he could stop that one when the time came. "What should we call ourselves?"
"Anything you like. Sloat and Sawyer? Or should we stick to the alphabet?"
"Sawyer and Sloat, sure, that's great, alphabetical order," Sloat said, seething because he imagined that his partner had euchred him into forever suggesting that he was somehow secondary to Sawyer.
Both sets of parents did hate the idea, as Phil had predicted, but the partners in the infant talent agency drove to Los Angeles in the old DeSoto (Morgan's, another demonstration of how much Sawyer owed him), set up an office in a North Hollywood building with a happy population of rats and fleas, and started hanging around the clubs, passing out their spandy-new business cards. Nothing--nearly four months of total failure. They had a comic who got too drunk to be funny, a writer who couldn't write, a stripper who insisted on being paid in cash so that she could stiff her agents. And then late one afternoon, high on marijuana and whiskey, Phil Sawyer had gigglingly told Sloat about the Territories.
"You know what I can do, you ambitious so-and-so? Oh, can I travel, partner. All the way."
Shortly after that, both of them travelling now, Phil Sawyer met a rising young actress at a studio party and within an hour had their first important client. And she had three friends similarly unhappy with their agents. And one of the friends had a boyfriend who had actually written a decent filmscript and needed an agent, and the boyfriend had a boyfriend . . . Before their third year was over, they had a new office, new apartments, a slice of the Hollywood pie. The Territories, in a fashion that Sloat accepted but never understood, had blessed them.
Sawyer dealt with the clients; Sloat with the money, the investments, the business side of the agency. Sawyer spent money--lunches, airplane tickets--Sloat saved it, which was all the justification he needed to skim a little of the cream off the top. And it was Sloat who kept pushing them into new areas, land development, real estate, production deals. By the time Tommy Woodbine arrived in Los Angeles, Sawyer & Sloat was a multimillion-dollar business.
Sloat discovered that he still detested his old classmate; Tommy Woodbine had put on thirty pounds, and looked and acted, in his blue three-piece suits, more than ever like a judge. His cheeks were always slightly flushed (alcoholic? Sloat wondered), his manner still kindly and ponderous. The world had left its marks on him--clever little wrinkles at the corners of his eyes, the eyes themselves infinitely more guarded than those of the gilded boy at Yale. Sloat understood almost at once, and knew that Phil Sawyer would never see it unless he were told, that Tommy Woodbine lived with an enormous secret: whatever the gilded boy might have been, Tommy was now a homosexual. Probably he'd call himself gay. And that made everything easier--in the end, it even made it easier to get rid of Tommy.
Because queers are always getting killed, aren't they? And did anybody really want a two-hundred-and-ten-pound pansy responsible for bringing up a teenage boy? You could say that Sloat was just saving Phil Sawyer from the posthumous consequences of a serious lapse of judgment. If Sawyer had made Sloat the executor of his estate and the guardian of his son, there would have been no problems. As it was, the murderers from the Territories--the same two who had bungled the abduction of the boy--had blasted through a stoplight and nearly been arrested before they could return home.
Things all would have been so much simpler, Sloat reflected for perhaps the thousandth time, if Phil Sawyer had never married. If no Lily, no Jack; if no Jack, no problems. Phil may never even have looked at the reports about Lily Cavanaugh's early life Sloat had compiled: they listed where and how often and with whom, and should have killed that romance as readily as the black van turned Tommy Woodbine into a lump on the road. If Sawyer read those meticulous reports, they left him amazingly unaffected. He wanted to marry Lily Cavanaugh, and he did. As his damned Twinner had married Queen Laura. More underestimation. And repaid in the same fashion, which seemed fitting.
Which meant, Sloat thought with some satisfaction, that after a few details were taken care of, everything would finally be settled. After so many years--when he came back from Arcadia Beach, he should have all of Sawyer & Sloat in his pocket. And in the Territories, all was placed just so: poised on the brink, ready to fall into Morgan's hands. As soon as the Qu
een died, her consort's former deputy would rule the country, introducing all the interesting little changes both he and Sloat desired. And then watch the money roll in. Sloat thought, turning off the freeway into Marina del Rey. Then watch everything roll in!
His client, Asher Dondorf, lived in the bottom half of a new condo in one of the Marina's narrow, alleylike streets just off the beach. Dondorf was an old character actor who had achieved a surprising level of prominence and visibility in the late seventies through a role on a television series; he'd played the landlord of the young couple--private detectives, and both cute as baby pandas--who were the series' stars. Dondorf got so much mail from his few appearances in the early episodes that the writers increased his part, making him an unofficial father to the young detectives, letting him solve a murder or two, putting him in danger, etc., etc. His salary doubled, tripled, quadrupled, and when the series was cancelled after six years, he went back into film work. Which was the problem. Dondorf thought he was a star, but the studios and producers still considered him a character actor--popular, but not a serious asset to any project. Dondorf wanted flowers in his dressing room, he wanted his own hairdresser and dialogue coach, he wanted more money, more respect, more love, more everything. Dondorf, in fact, was a putz.
When he pulled his car tight into the parking bay and eased himself out, being careful not to scratch the edge of his door on the brick, Sloat came to a realization: if he learned, or even suspected, sometime in the next few days, that Jack Sawyer had discovered the existence of the Territories, he would kill him. There was such a thing as an unacceptable risk.
Sloat smiled to himself, popping another Di-Gel into his mouth, and rapped on the condo's door. He knew it already: Asher Dondorf was going to kill himself. He'd do it in the living room in order to create as much mess as possible. A temperamental jerk like his soon-to-be-ex-client would think a really sloppy suicide was revenge on the bank that held his mortgage. When a pale, trembling Dondorf opened the door, the warmth of Sloat's greeting was quite genuine.
TWO
THE ROAD OF TRIALS
6
The Queen's Pavillion
1
The saw-toothed blades of grass directly before Jack's eyes seemed as tall and stiff as sabres. They would cut the wind, not bend to it. Jack groaned as he lifted his head. He did not possess such dignity. His stomach still felt threateningly liquid, his forehead and eyes burned. Jack pushed himself up on his knees and then forced himself to stand. A long horse-drawn cart rumbled toward him down the dusty track, and its driver, a bearded red-faced man roughly the same shape and size as the wooden barrels rattling behind him, was staring at him. Jack nodded and tried to take in as much as he could about the man while giving the appearance of a loafing boy who had perhaps run off for an illicit snooze. Upright, he no longer felt ill; he felt, in fact, better than at any time since leaving Los Angeles, not merely healthy but somehow harmonious, mysteriously in tune with his body. The warm, drifting air of the Territories patted his face with the gentlest, most fragrant of touches--its own delicate and flowery scent quite distinct beneath the stronger odor of raw meat it carried. Jack ran his hands over his face and peeked at the driver of the cart, his first sample of Territories Man.
If the driver addressed him, how should he answer? Did they even speak English here? His kind of English? For a moment Jack imagined himself trying to pass unnoticed in a world where people said "Prithee" and "Dost thou go cross-gartered, yonder varlet?" and decided that if that was how things went, he'd pretend to be a mute.
The driver finally took his eyes off Jack and clucked something decidedly not 1980's American English to his horses. But perhaps that was just the way you spoke to horses. Slusha, slusha! Jack edged backward into the sea-grass, wishing that he had managed to get on his feet a couple of seconds earlier. The man glanced at him again, and surprised Jack by nodding--a gesture neither friendly nor unfriendly, merely a communication between equals. I'll be glad when this day's work is done, brother. Jack returned the nod, tried to put his hands in his pockets, and for a moment must have looked half-witted with astonishment. The driver laughed, not unpleasantly.
Jack's clothes had changed--he wore coarse, voluminous woolen trousers instead of the corduroy jeans. Above the waist a close-fitting jacket of soft blue fabric covered him. Instead of buttons, the jacket--a jerkin? he speculated--had a row of cloth hooks and eyes. Like the trousers, it was clearly hand-made. The Nikes, too, were gone, replaced by flat leather sandals. The knapsack had been transmogrified into a leather sack held by a thin strap over his shoulder. The cart-driver wore clothing almost exactly similar--his jerkin was of leather stained so deeply and continuously that it showed rings within rings, like an old tree's heart.
All rattle and dust, the cart pulled past Jack. The barrels radiated a yeasty musk of beer. Behind the barrels stood a triple pile of what Jack unthinkingly took to be truck tires. He smelled the "tires" and noticed that they were perfectly, flawlessly bald in the same moment--it was a creamy odor, full of secret depths and subtle pleasures, that instantly made him hungry. Cheese, but no cheese that he had ever tasted. Behind the wheels of cheese, near the back of the cart, an irregular mound of raw meat--long, peeled-looking sides of beef, big slablike steaks, a heap of ropy internal organs he could not identify--slithered beneath a glistening mat of flies. The powerful smell of the raw meat assailed Jack, killing the hunger evoked by the cheese. He moved into the middle of the track after the cart had passed him and watched it jounce toward the crest of a little rise. A second later he began to follow after, walking north.
He had gone only halfway up the rise when he once again saw the peak of the great tent, rigid in the midst of a rank of narrow fluttering flags. That, he assumed, was his destination. Another few steps past the blackberry bushes where he'd paused the last time (remembering how good they'd been, Jack popped two of the enormous berries in his mouth) and he could see the whole of the tent. It was actually a big rambling pavillion, long wings on each side, with gates and a courtyard. Like the Alhambra, this eccentric structure--a summer palace, Jack's instincts told him--stood just above the ocean. Little bands of people moved through and around the great pavillion, driven by forces as powerful and invisible as the effect on iron filings of a magnet. The little groups met, divided, poured on again.
Some of the men wore bright, rich-looking clothes, though many seemed to be dressed much as Jack was. A few women in long shining white gowns or robes marched through the courtyard, as purposeful as generals. Outside the gates stood a collection of smaller tents and impromptu-looking wooden huts; here, too, people moved, eating or buying or talking, though more easily and randomly. Somewhere down in that busy crowd he would have to find the man with a scar.
But first he looked behind him, down the length of the rutted track, to see what had happened to Funworld.
When he saw two small dark horses pulling plows, perhaps fifty yards off, he thought that the amusement park had become a farm, but then he noticed the crowd watching the plowing from the top of the field and understood that this was a contest. Next his eye was taken by the spectacle of a huge red-haired man, stripped to the waist, whirling about like a top. His outstretched hands held some long heavy object. The man abruptly stopped whirling and released the object, which flew a long way before it thudded and bounced on the grass and revealed itself to be a hammer. Funworld was a fair, not a farm--Jack now saw tables heaped with food, children on their fathers' shoulders.
In the midst of the fair, making sure that every strap and harness was sound, every oven stoked with wood, was there a Speedy Parker? Jack hoped so.
And was his mother still sitting by herself in the Tea and Jam Shoppe, wondering why she had let him go?
Jack turned back and watched the long cart rattle through the gates of the summer palace and swing off to the left, separating the people who moved there as a car making a turn off Fifth Avenue separates pedestrians on a cross-town street. A moment later
he set off after it.
2
He had feared that all the people on the pavillion grounds would turn toward him staring, instantly sensing his difference from them. Jack carefully kept his eyes lowered whenever he could and imitated a boy on a complicated errand--he had been sent out to assemble a list of things; his face showed how he was concentrating to remember them. A shovel, two picks, a ball of twine, a bottle of goose grease . . . But gradually he became aware that none of the adults before the summer palace paid him any attention at all. They rushed or dawdled, inspected the merchandise--rugs, iron pots, bracelets--displayed in the little tents, drank from wooden mugs, plucked at another's sleeve to make a comment or start a conversation, argued with the guards at the gate, each wholly taken up by his own business. Jack's impersonation was so unnecessary as to be ridiculous. He straightened up and began to work his way, moving generally in an irregular half-circle, toward the gate.
He had seen almost immediately that he would not be able just to stroll through it--the two guards on either side stopped and questioned nearly everyone who tried to reach the interior of the summer palace. Men had to show their papers, or display badges or seals which gave them access. Jack had only Speedy Parker's fingerpick, and he didn't think that would get him past the guards' inspection. One man just now stepping up to the gate flashed a round silver badge and was waved through; the man following him was stopped. He argued; then the tone of his manner changed, and Jack saw that he was pleading. The guard shook his head and ordered the man off.
"His men don't have any trouble getting in," someone to Jack's right said, instantly solving the problem of Territories language, and Jack turned his head to see if the man had spoken to him.