Skeleton Crew

by Stephen King

  "He removed it--it didn't take long--but the look in his eyes was not lost upon me, and I could, in some limited way, understand his feelings. I needed a shave, I stank of whiskey, my hair was sticking up all over my head, my topcoat was dirty. He would know I no longer went to work; that I'd had my television taken away; that my phone and electrical service had been voluntarily interrupted. He thought I was crazy.

  "I may have been crazy but--like Reg--I was not stupid. I turned on the charm. Editors have got to have a certain amount, you know. And I greased the skids with a ten-dollar bill. Finally I was able to smooth things over, but I knew from the way people were looking at me in the next couple of weeks--my last two weeks in the building, as things turned out--that the story had traveled. The fact that no members of the tenants' association approached me to make wounded noises about my ingratitude was particularly telling. I suppose they thought I might take after them with a steak knife.

  "All of that was very secondary in my thoughts that evening, however. I sat in the glow of the Coleman lantern, the only light in the three rooms except for all the electricity in Manhattan that came through the windows. I sat with a bottle in one hand, a cigarette in the other, looking at the plate in the ceiling where the smoke detector with its single red eye--an eye which was so unobtrusive in the daytime that I had never even noticed it--had been. I thought of the undeniable fact that, although I'd had all the electricity turned off in my place, there had been that one live item ... and where there was one, there might be more.

  "Even if there wasn't, the whole building was rotten with wires--it was filled with wires the way a man dying of cancer is filled with evil cells and rotting organs. Closing my eyes I could see all those wires in the darkness of their conduits, glowing with a sort of green nether light. And beyond them, the entire city. One wire, almost harmless in itself, running to a switchplate ... the wire behind the switchplate a little thicker, leading down through a conduit to the basement where it joined a still thicker wire ... that one leading down under the street to a whole bundle of wires, only those wires so thick that they were really cables.

  "When I got Jane Thorpe's letter mentioning the tinfoil, part of my mind recognized that she saw it as a sign of Reg's craziness, and that part knew I would have to respond as if my whole mind thought she was right. The other part of my mind--by far the largest part now--thought: 'What a marvelous idea!' and I covered my own switchplates in identical fashion the very next day. I was the man, remember, that was supposed to be helping Reg Thorpe. In a desperate sort of way it's actually quite funny.

  "I determined that night to leave Manhattan. There was an old family place in the Adirondacks I could go to, and that sounded fine to me. The one thing keeping me in the city was Reg Thorpe's story. If 'The Ballad of the Flexible Bullet' was Reg's life-ring in a sea of madness, it was mine, too--I wanted to place it in a good magazine. With that done, I could get the hell out.

  "So that's where the not-so-famous Wilson-Thorpe correspondence stood just before the shit hit the fan. We were like a couple of dying drug addicts comparing the relative merits of heroin and 'ludes. Reg had Fornits in his typewriter, I had Fornits in the walls, and both of us had Fornits in our heads.

  "And there was they. Don't forget they. I hadn't been flogging the story around for long before deciding they included every magazine fiction editor in New York--not that there were many by the fall of 1969. If you'd grouped them together, you could have killed the whole bunch of them with one shotgun shell, and before long I started to feel that was a damned good idea.

  "It took about five years before I could see it from their perspective. I'd upset the super, and he was just a guy who saw me when the heat was screwed up and when it was time for his Christmas tip. These other guys ... well, the irony was just that a lot of them really were my friends. Jared Baker was the assistant fiction editor at Esquire in those days, and Jared and I were in the same rifle company during World War II, for instance. These guys weren't just uneasy after sampling the new improved Henry Wilson. They were appalled. If I'd just sent the story around with a pleasant covering letter explaining the situation--my version of it, anyway--I probably would have sold the Thorpe story almost right away. But oh no, that wasn't good enough. Not for this story. I was going to see that this story got the personal treatment. So I went from door to door with it, a stinking, grizzled ex-editor with shaking hands and red eyes and a big old bruise on his left cheekbone from where he ran into the bathroom door on the way to the can in the dark two nights before. I might as well have been wearing a sign reading BELLEVUE-BOUND.

  "Nor did I want to talk to these guys in their offices. In fact, I could not. The time had long since passed when I could get into an elevator and ride it up forty floors. So I met them like pushers meet junkies--in parks, on steps, or in the case of Jared Baker, in a Burger Heaven on Forty-ninth Street. Jared at least would have been delighted to buy me a decent meal, but the time had passed, you understand, when any self-respecting maitre d' would have let me in a restaurant where they serve business people."

  The agent winced.

  "I got perfunctory promises to read the story, followed by concerned questions about how I was, how much I was drinking. I remember--hazily--trying to tell a couple of them about how electricity and radiation leaks were fucking up everyone's thinking, and when Andy Rivers, who edited fiction for American Crossings, suggested I ought to get some help, I told him he was the one who ought to get some help.

  " 'You see those people out there on the street?' I said. We were standing in Washington Square Park. 'Half of them, maybe even three-quarters of them, have got brain tumors. I wouldn't sell you Thorpe's story on a bet, Andy. Hell, you couldn't understand it in this city. Your brain's in the electric chair and you don't even know it.'

  "I had a copy of the story in my hand, rolled up like a newspaper. I whacked him on the nose with it, the way you'd whack a dog for piddling in the comer. Then I walked off. I remember him yelling for me to come back, something about having a cup of coffee and talking it over some more, and then I passed a discount record store with loudspeakers blasting heavy metal onto the sidewalk and banks of snowy-cold fluorescent lights inside, and I lost his voice in a kind of deep buzzing sound inside my head. I remember thinking two things--I had to get out of the city soon, very soon, or I would be nursing a brain tumor of my own, and I had to get a drink right away.

  "That night when I got back to my apartment I found a note under the door. It said 'We want you out of here, you crazy-bird.' I threw it away without so much as a second thought. We veteran crazy-birds have more important things to worry about than anonymous notes from fellow tenants.

  "I was thinking over what I'd said to Andy Rivers about Reg's story. The more I thought about it--and the more drinks I had--the more sense it made. 'Flexible Bullet' was funny, and on the surface it was easy to follow ... but below that surface level it was surprisingly complex. Did I really think another editor in the city could grasp the story on all levels? Maybe once, but did I still think so now that my eyes had been opened? Did I really think there was room for appreciation and understanding in a place that was wired up like a terrorist's bomb? God, loose volts were leaking out everywhere.

  "I read the paper while there was still enough daylight to do so, trying to forget the whole wretched business for a while, and there on page one of the Times there was a story about how radioactive material from nuclear-power plants kept disappearing--the article went on to theorize that enough of that stuff in the right hands could quite easily be used to make a very dirty nuclear weapon.

  "I sat there at the kitchen table as the sun went down, and in my mind's eye I could see them panning for plutonium dust like 1849 miners panning for gold. Only they didn't want to blow up the city with it, oh no. They just wanted to sprinkle it around and fuck up everyone's minds. They were the bad Fornits, and all that radioactive dust was bad-luck fornus. The worst bad-luck fornus of all time.

  "I dec
ided I didn't want to sell Reg's story after all--at least, not in New York. I'd get out of the city just as soon as the checks I'd ordered arrived. When I was upstate, I could start sending it around to the out-of-town literary magazines. Sewanee Review would be a good place to start, I reckoned, or maybe Iowa Review. I could explain to Reg later. Reg would understand. That seemed to solve the whole problem, so I took a drink to celebrate. And then the drink took a drink. And then the drink took the man. So to speak. I blacked out. I only had one more blackout left in me, as it happened.

  "The next day my Arvin Company checks came. I typed one of them up and went to see my friend, the 'co-drawer.' There was another one of those tiresome cross-examinations, but this time I kept my temper. I wanted that signature. Finally, I got it. I went to a business supply store and had them make up an Arvin Company letter-stamp while I waited. I stamped a return address on a business envelope, typed Reg's address (the confectioner's sugar was out of my machine but the keys still had a tendency to stick), and added a brief personal note, saying that no check to an author had ever given me more personal pleasure ... and that was true. Still is. It was almost an hour before I could bring myself to mail it--I just couldn't get over how official it looked. You never would have known that a smelly drunk who hadn't changed his underwear in about ten days had put that one together. "

  He paused, crushed out his cigarette, looked at his watch. Then, oddly like a conductor announcing a train's arrival in some city of importance, he said, "We have reached the inexplicable.

  "This is the point in my story which most interested the two psychiatrists and various mental caseworkers with whom I was associated over the next thirty months of my life. It was the only part of it they really wanted me to recant, as a sign that I was getting well again. As one of them put it, 'This is the only part of your story which cannot be explicated as faulty induction ... once, that is, your sense of logic has been mended.' Finally I did recant, because I knew--even if they didn't--that I was getting well, and I was damned anxious to get out of the sanitarium. I thought if I didn't get out fairly soon, I'd go crazy all over again. So I recanted--Galileo did, too, when they held his feet to the fire--but I have never recanted in my own mind. I don't say that what I'm about to tell you really happened; I only say I still believe it happened. That's a small qualification, but to me it's crucial.

  "So, my friends, the inexplicable:

  "I spent the next two days preparing to move upstate. The idea of driving the car didn't disturb me at all, by the way. I had read as a kid that the inside of a car is one of the safest places to be during an electrical storm, because the rubber tires serve as near-perfect insulators. I was actually looking forward to getting in my old Chevrolet, cranking up all the windows, and driving out of the city, which I had begun to see as a sink of lightning. Nevertheless, part of my preparations included removing the bulb in the dome light, taping over the socket, and turning the headlight knob all the way to the left to kill the dashlights.

  "When I came in on the last night I meant to spend in the apartment, the place was empty except for the kitchen table, the bed, and my typewriter in the den. The typewriter was sitting on the floor. I had no intention of taking it with me--it had too many bad associations, and besides, the keys were going to stick forever. Let the next tenant have it, I thought--it, and Bellis, too.

  "It was just sunset, and the place was a funny color. I was pretty drunk, and I had another bottle in my topcoat pocket against the watches of the night. I started across the den, meaning to go into the bedroom, I suppose. There I would sit on the bed and think about wires and electricity and free radiation and drink until I was drunk enough to go to sleep.

  "What I called the den was really the living room. I made it my workplace because it had the nicest light in the whole apartment--a big westward-facing window that looked all the way to the horizon. That's something close to the Miracle of the Loaves and Fishes in a fifth-floor Manhattan apartment, but the line of sight was there. I didn't question it; I just enjoyed it. That room was filled with a clear, lovely light even on rainy days.

  "But the quality of the light that evening was eerie. The sunset had filled the room with a red glow. Furnace light. Empty, the room seemed too big. My heels made flat echoes on the hardwood floor.

  "The typewriter sat in the middle of the floor, and I was just going around it when I saw there was a ragged scrap of paper stuck under the roller--that gave me a start, because I knew there had been no paper in the machine when I went out for the last time to get the fresh bottle.

  "I looked around, wondering if there was someone--some intruder--in the place with me. Except it wasn't really intruders, or burglars, or junkies, I was thinking of ... it was ghosts.

  "I saw a ragged blank place on the wall to the left of the bedroom door. I at least understood where the paper in the typewriter had come from. Someone had simply torn off a ragged piece of the old wallpaper.

  "I was still looking at this when I heard a single small clear noise--clack!--from behind me. I jumped and whirled around with my heart knocking in my throat. I was terrified, but I knew what that sound was just the same--there was no question at all. You work with words all your life and you know the sound of a typewriter platen hitting paper, even in a deserted room at dusk, where there is no one to strike the key."

  They looked at him in the dark, their faces blurred white circles, saying nothing, slightly huddled together now. The writer's wife was holding one of the writer's hands tightly in both of her own.

  "I felt ... outside myself. Unreal. Perhaps this is always the way one feels when one arrives at the point of the inexplicable. I walked slowly over to the typewriter. My heart was pounding madly up there in my throat, but I felt mentally calm ... icy, even.

  "Clack! Another platen popped up. I saw it this time--the key was in the third row from the top, on the left.

  "I got down on my knees very slowly, and then all the muscles in my legs seemed to go slack and I half-swooned the rest of the way down until I was sitting there in front of the typewriter with my dirty London Fog topcoat spread around me like the skirt of a girl who has made her very deepest curtsy. The typewriter clacked twice more, fast, paused, then clacked again. Each clack made the same kind of flat echo my footfalls had made on the floor.

  "The wallpaper had been rolled into the machine so that the side with the dried glue on it was facing out. The letters were ripply and bumpy, but I could read them: rackn, it said. Then it clacked again and the word was rackne.

  "Then--" He cleared his throat and grinned a little. "Even all these years later this is hard to tell ... to just say right out. Okay. The simple fact, with no icing on it, is this. I saw a hand come out of the typewriter. An incredibly tiny hand. It came out from between the keys B and N in the bottom row, curled itself into a fist, and hammered down on the space bar. The machine jumped a space--very fast, like a hiccough--and the hand drew back down inside."

  The agent's wife giggled shrilly.

  "Can it, Marsha," the agent said softly, and she did.

  "The clacks began to come a little faster," the editor went on, "and after a while I fancied I could hear the creature that was shoving the key arms up gasping, the way anyone will gasp when he is working hard, coming closer and closer to his physical limit. After a while the machine was hardly printing at all, and most of the keys were filled with that old gluey stuff, but I could read the impressions. It got out rackne is d and then the y key stuck to the glue. I looked at it for a moment and then I reached out one finger and freed it. I don't know if it--Bellis--could have freed it himself. I think not. But I didn't want to see it ... him ... try. Just the fist was enough to have me tottering on the brink. If I saw the elf entire, so to speak, I think I really would have gone crazy. And there was no question of getting up to run. All the strength had gone out of my legs.

  "Clack-clack-clack, those tiny grunts and sobs of effort, and after every word that pallid ink-and dirt-streaked fist would
come out between the B and the N and hammer down on the space bar. I don't know exactly how long it went on. Seven minutes, maybe. Maybe ten. Or maybe forever.

  "Finally the clacks stopped, and I realized I couldn't hear him breathing anymore. Maybe he fainted ... maybe he just gave up and went away ... or maybe he died. Had a heart attack or something. All I really know for sure is that the message was not finished. It read, completely in lowercase: rackne is dying its the little boy jimmy thorpe doesn't know tell thorpe rackne is dying the little boy jimmy is killing rackne bel ... and that was all.

  "I found the strength to get to my feet then, and I left the room. I walked in great big tippy-toe steps, as if I thought it had gone to sleep and if I made any of those flat echoey noises on the bare wood it would wake up and the typing would start again ... and I thought if it did, the first clack would start me screaming. And then I would just go on until my heart or my head burst.

  "My Chevy was in the parking lot down the street, all gassed and loaded and ready to go. I got in behind the wheel and remembered the bottle in my topcoat pocket. My hands were shaking so badly that I dropped it, but it landed on the seat and didn't break.

  "I remembered the blackouts, and, my friends, right then a blackout was exactly what I wanted, and exactly what I got. I remember taking the first drink from the neck of the bottle, and the second. I remember turning the key over to accessory and getting Frank Sinatra on the radio singing 'That Old Black Magic,' which seemed fitting enough. Under the circumstances. So to speak. I remember singing along, and having a few more drinks. I was in the back row of the lot, and I could see the traffic light on the comer going through its paces. I kept thinking of those flat clacking sounds in the empty room, and the fading red light in the den. I kept thinking of those puffing sounds, as if some body-building elf had hung fishing sinkers on the ends of a Q-Tip and was doing bench presses inside my old typewriter. I kept seeing the pebbly surface on the back side of that torn scrap of wallpaper. My mind kept wanting to examine what must have gone on before I came back to the apartment ... kept wanting to see it--him--Bellis--jumping up, grabbing the loose edge of the wallpaper by the door to the bedroom because it was the only thing left in the room approximating paper--hanging on--finally tearing it loose and carrying it back to the typewriter on its--on his--head like the leaf of a nipa palm. I kept trying to imagine how he--it--could ever have run it into the typewriter. And none of that was blacking out so I kept drinking and Frank Sinatra stopped and there was an ad for Crazy Eddie's and then Sarah Vaughan came on singing 'I'm Gonna Sit Right Down and Write Myself a Letter' and that was something else I could relate to since I'd done just that recently or at least I'd thought I had up until tonight when something happened to give me cause to rethink my position on that matter so to speak and I sang along with good old Sarah Soul and right about then I must have achieved escape velocity because in the middle of the second chorus with no lag at all I was puking my guts out while somebody first thumped my back with his palms and then lifted my elbows behind me and put them down and then thumped my back with his palms again. That was the trucker. Every time he thumped I'd feel a great clot of liquid rise up in my throat and get ready to go back down except then.he'd lift my elbows and every time he lifted my elbows I'd puke again, and most of it wasn't even Black Velvet but river water. When I was able to lift my head enough to look around it was six o'clock in the evening three days later and I was lying on the bank of the Jackson River in western Pennsylvania, about sixty miles north of Pittsburgh. My Chevy was sticking out of the river, rear end up. I could still read the McCarthy sticker on the bumper.