by Stephen King
"All right," I said. "It's my gift to you." And I felt something that might have been mean-spirited gladness. Call it the voice of Mr. Yow, You'll Find Out. Apparently just getting it off my chest wasn't enough, after all. She hadn't believed me, and at least part of me did want to be believed and resented Paula for not getting what it wanted. That part knew that letting her take the Lucite cube was an absolutely terrible idea, but was glad to see her tuck it away in her purse, just the same.
"There," she said briskly. "Mama say bye-bye, make all gone. Maybe when it doesn't come back in a week—or two, I guess it all depends on how stubborn your subconscious wants to be—you can start giving the rest of the things away." And her saying that was her real gift to me that day, although I didn't know it then.
"Maybe so," I said, and smiled. Big smile for the new friend. Big smile for pretty Mama. All the time thinking, You'll find out.
Yow. She did.
Three nights later, while I was watching Chuck Scarborough explain the city's latest transit woes on the six o'clock news, my doorbell rang. Since no one had been announced, I assumed it was a package, maybe even Rafe with something from FedEx. I opened the door and there stood Paula Robeson.
This was not the woman with whom I'd had lunch. Call this version of Paula Ms. Yow, Ain't That Chemotherapy Nasty. She was wearing a little lipstick but nothing else in the way of makeup, and her complexion was a sickly shade of yellow-white. There were dark brownish-purple arcs under her eyes. She might have given her hair a token swipe with the brush before coming down from the fifth floor, but it hadn't done much good. It looked like straw and stuck out on either side of her head in a way that would have been comic-strip funny under other circumstances. She was holding the Lucite cube up in front of her breasts, allowing me to note that the well-kept nails on that hand were gone. She'd chewed them away, right down to the quick. And my first thought God help me, was yep, she found out.
She held it out to me. "Take it back," she said
I did so without a word.
"His name was Roland Abelson," she said "Wasn't it?"
"Yes."
"He had red hair."
'Yes."
"Not married but paying child support to a woman in Rahway."
I hadn't known that—didn't believe any one at Light and Bell had known that—but I nodded again, and not just to keep her rolling. I was sure she was right. "What was her name, Paula?" Not knowing why I was asking, not yet, just knowing I had to know.
"Tonya Gregson." It was as if she was in a trance. There was something in her eyes though, something so terrible I could hardly stand to look at it. Nevertheless, I stored the name away. Tonya Gregson, Rahway. And then like some guy doing stockroom inventory One Lucite cube with penny inside.
"He tried to crawl under his desk, did you know that? No, I can see you didn't. His hair was on fire and he was crying. Because in that instant he understood he was never going to own a catamaran or even mow his lawn again." She reached out and put a hand on my cheek, a gesture so intimate it would have been shocking had her hand not been so cold. "At the end, he would have given every cent he had, and every stock option he held, just to be able to mow his lawn again. Do you believe that?"
"Yes."
"The place was full of screams, he could smell jet fuel, and he understood it was his dying hour. Do you understand that? Do you understand the enormity of that?"
I nodded. I couldn't speak. You could have put a gun to my head and I still wouldn't have been able to speak.
"The politicians talk about memorials and courage and wars to end terrorism, but burning hair is apolitical." She bared her teeth in an unspeakable grin. A moment later it was gone. "He was trying to crawl under his desk with his hair on fire. There was a plastic thing under his desk, a what-do-you-call it—"
"Mat—"
“Yes, a mat, a plastic mat, and his hands were on that and he could feel the ridges in the plastic and smell his own burning hair. Do you understand that?"
I nodded. I started to cry. It was Roland Abelson we were talking about, this guy I used to work with.
He was in liability and I didn't know him very well. To say hi to is all; how was I supposed to know he had a kid in Rahway? And if I hadn't played hooky that day, my hair probably would have burned, too. I'd never really understood that before.
"I don't want to see you again," she said. She flashed her gruesome grin once more, but now she was crying, too. "1 don't care about your problems. I don't care about any of the shit you found. We're quits.
From now on you leave me alone." She started to turn away, then turned back. She said: "They did it in the name of God, but there is no God. If there was a God, Mr. Staley, He would have struck all eighteen of them dead in their boarding lounges with their boarding passes in their hands, but no God did. They called for passengers to get on and those fucks just got on."
I watched her walk back to the elevator. Her back was very stiff. Her hair stuck out on either side of her head, making her look like a girl in a Sunday funnies cartoon. She didn't want to see me anymore, and I didn't blame her. I closed the door and looked at the steel Abe Lincoln in the Lucite cube. I looked at him for quite a long time. I thought about how the hair of his beard would have smelled if U.S. Grant had stuck one of his everlasting cigars in it. That unpleasant frying aroma. On TV, someone was saying that there was a mattress blowout going on at Sleepy's. After that, Len Berman came on and talked about the Jets.
That night I woke up at two in the morning, listening to the voices whisper. I hadn't had any dreams or visions of the people who owned the objects, hadn't seen anyone with their hair on fire or jumping from the windows to escape the burning jet fuel, but why would I? I knew who they were, and the things they left behind had been left for me. Letting Paula Robeson take the Lucite cube had been wrong, but only because she was (he wrong person. And speaking of Paula, one of the voices was hers. You can start giving the rest of the things away, it said. And it said, I guess it all depends on how stubborn your subconscious wants to be.
I lay back down and after a while I was able to go to sleep. I dreamed I was in Central Park, feeding the ducks, when all at once there was a loud noise like a sonic boom and smoke filled the sky. In my dream, the smoke smelled like burning hair.
I thought about Tonya Gregson in Rahway— Tonya and the child who might or might not have Roland Abelson's eyes—and thought I'd have to work up to that one. I decided to start with Bruce Mason's widow.
I took the train to Dobbs Ferry and called a taxi from the station. The cabbie took me to a Cape Cod house on a residential street. I gave him some money, told him to wait— wouldn't be long—and rang the doorbell. had a box under one arm. It looked like the kind that contains a bakery cake.
I only had to ring once because I'd called ahead and Janice Mason was expecting me. had my story carefully prepared and told with some confidence, knowing that the taxi sitting in the driveway, its meter running, would forestall any detailed cross-examination.
On September seventh, I said—the Friday before—I had tried to blow a note from the conch Bruce kept on his desk, as I had heard Bruce himself do at the Jones Beach picnic. (Janice, Mrs. Lord of the Flies, nodding; she had been there, of course.) Well, I said, to make a long story short, I had persuaded Bruce to let me have the conch shell over the weekend so I could practice. Then, on Tuesday morning, I'd awakened with a raging sinus infection and a horrible headache to go with it. (This was a story I had already told several people.) I'd been drinking a cup of lea when I heard the boom and saw the rising smoke. I hadn't thought of the conch shell again until just this week. I'd been (leaning out my little utility closet and by damn, there it was. And I just thought. . . well, it's not much of a keepsake, but I just thought maybe you'd like to. . . you know. ..
Her eyes filled up with tears just as mine had when Paula brought back Roland Abelson's "retirement fund," only these weren't accompanied by the look of fright that I'm sure was on my own
face as Paula stood there with her stiff hair sticking out on either side of her head. Janice told me she would be glad to have any keepsake of Bruce.
"I can't get over the way we said good-bye," she said, holding the box in her arms. "He always left very early because he took the train. He kissed me on the cheek and I opened one eye and asked him if he'd bring back a pint of half-and-half. He said he would. That's the last thing he ever said to me. When he asked me to marry him, I felt like Helen of Troy—stupid but absolutely true—and I wish I'd said something better than 'Bring home a pint of half-and-half.' But we'd been married a long time, and it seemed like business as usual that day, and ... we don't know, do we?"
"No."
"Yes. Any parting could be forever, and we don't know. Thank you, Mr. Staley. For coming out and bringing me this. That was very kind." She smiled a little then. "Do you remember how he stood on the beach with his shirt off and blew it?"
'Yes," I said, and looked at the way she held the box. Later she would sit down and take the shell out and hold it on her lap and cry. I knew that the conch, at least, would never come back to my apartment. It was home.
I returned to the station and caught the train back to New York. The cars were almost empty at that time of day, early afternoon, and I sat by a rain- and dirt-streaked window, looking out at the river and the approaching skyline. On cloudy and rainy days, you almost seem to be creating that skyline out of your own imagination, a piece at a time.
Tomorrow I'd go to Rahway, with the penny in the Lucite cube. Perhaps the child would take it in his or her chubby hand and look at it curiously. In any case, it would be out of my life. I thought the only difficult thing to get rid of would be Jimmy Eagleton's Farting Cushion—I could hardly tell Mrs. Eagleton I'd brought it home for the weekend in order to practice using it, could I? But necessity is the mother of inven-tion, and I was confident that I would eventually think of some halfway plausible story.
It occurred to me that other things might show up, in time. And I'd be lying if I told you I found that possibility entirely unpleasant. When it comes to returning things which people believe have been lost forever, things that have weight, there are compensations. Even if they're only little things, like a pair of joke sunglasses or a steel penny in a Lucite cube . . . yeah. I'd have to say there are compensations.
JOHN FARRIS
John Farris began writing fiction in high school. At 22, while he was studying at the University of Missouri, his
first major novel, Harrison High, was published; it became a bestseller. He has worked in many
genres—suspense, horror, mystery—while transcending
each through the power of his writing. The New York Times noted his talent for "masterfully devious plotting"
while reviewing The Captors. All Heads Turn When the Hunt Goes By was cited in an essay published in Horror: 100 Best Books, which concluded, "The field's most powerful individual voice ... when John Farris is on
high-burn, no one can match the skill with which he puts
words together." In the 1990s, he turned exclusively to thrillers, publishing Dragonfly, Soon She Will Be Gone, Solar Eclipse, and Sacrifice, of which Richard Matheson wrote, "John Farris has once again elevated the terror genre into the realm of literature." Commenting on
Dragonfly, Ed Gorman said, "Dragonfly has style, heart, cunning,
terror,
irony,
suspense,
and
genuine
surprise—and an absolutely fearless look into the souls of
people very much like you and me." And Publishers Weekly concluded, "(he writes with) a keen knowledge of human nature and a wicked sense of humor." John Farris
received the 2001 Bram Stoker Award for Lifetime
Achievement from the Horror Writers Association. His
latest novel is Phantom Nights.
THE RANSOME WOMEN
John Farris
ONE
Echo Halloran first became aware of the Woman in Black during a visit to the High-bridge Museum of Art in Cambridge, Massachusetts. Echo and her boss were dealing that day with the chief curator of the Highbridge, a man named Charles Carwood. The High-bridge was in the process of deacquisitioning, as they say in the trade, a number of paintings, mostly by twentieth-century artists whose stock had remained stable in the fickle art world. The Highbridge was in difficulty with the IRS and Carwood was looking for around thirty million for a group of Representationalists.
Echo's boss was Stefan Konine, director of Gilbard's, the New York auction house. Stefan was a big man, florid as a poached salmon, who lied about his age and played the hay burners for recreation. He wore J. Dege & Sons suits with the aplomb of royalty. He wasn't much interested in Representationalists and preferred to let Echo, who had done her thesis at NYU on the Boquillas School, carry the ball while the paintings were reverently brought, one by one, to their attention in the seventh-floor conference room. The weather outside was blue and clear. Through a nice spread of windows the view to the south included the Charles River.
Echo had worked for Konine for a little over a year. They had established an almost familial rapport.
Echo kept busy with her laptop on questions of provenance while Stefan sipped Chablis and regarded each painting with the same dyspeptic expression, as if he were trying to digest a bowling ball he'd had for lunch. His mind was mostly on the trifecta he had working at Belmont, but he was alert to the nuances of each glance Echo sent his way. They were a team. They knew each other's signals.
Carwood said, "And we have this exquisite David Herrera from the Oppenheim estate, probably the outstanding piece of David's Big Bend Cycle."
Echo smiled as two museum assistants wheeled in the oversize canvas. She was drinking 7Up, not Chablis.
The painting was in the style of Georgia O'Keeffe during her Santa Fe incarnation. Echo looked down at her laptop screen, hit a few keys, looked up again. It was a long stare, as if she were trying to see all the way to the Big Bend Country of Texas. After a couple of minutes Stefan raised a spikey eyebrow. Carwood fidgeted on his settee. His eyes were on Echo. He had done some staring himself, from the moment Echo was introduced to him.
There are beauties who stop traffic and there are beauties who grow obsessively in the hearts of the susceptible; Echo Halloran was one of those. She had a full mane of wraparound dark hair. Her eyes were large and round and dark as polished buckeyes, deeply flecked with gold. Sprightly as a genie, endowed with a wealth of breeding and self-esteem, she viewed the world with an intensity of favor that piqued the wonder of strangers.
When she cleared her throat Carwood started nervously. Stefan looked lazily at his protegee, with the beginning of a wise smile. He sensed an intrigue.
Carwood said, "Perhaps you'd care to have a closer look, Miss Halloran? The light from the windows—"
"The light is fine." Echo settled back in her seat. She closed her eyes and touched the center of her forehead with two fingers. "I've seen enough. I'm very sorry, Mr. Carwood. But that canvas isn't David Herrera's work."
"Oh, my dear," Carwood said, drawing a pained breath as if he were trying to decide whether a tantrum or a seizure was called for, "you must be extremely careful about making potentially actionable judgments—"
"I am," Echo said, and opened her eyes wide, "always careful. It's a fake. And not the first fake Herrera I've seen. Give me a couple of hours and I'll tell you which of his students painted it, and when."
Carwood attempted to appeal to Stefan, who held up a cautionary finger.
"But that will cost you a thousand dollars for Miss Halloran's time and expertise. A thousand dollars an hour. I would advise you to pay it. She's very good. As for the lot you've shown us today—" Stefan got to his feet with a nod of good cheer. "Thank you for considering Gilbard's. I'm afraid our schedule is unusually crowded for the fall season. Why don't you try Sotheby's?"
For a man of his bulk, Stefan did a good job of imitat
ing a capering circus bear in the elevator going down to the lobby of the Highbridge.
"Now, Stefan," Echo said serenely.
"But I loved seeing dear old Carwood go into the crapper."
"I didn't realize he was another of your old enemies."
"Enemy? I don't hold Charles in such high regard. He's simply a pompous ass. If he were mugged for his wits, he would only impoverish the thief. So tell me, who perpetrated the fraud?"
"Not sure. Either Fimmel or Arzate. Anyway, you can't get a fake Herrera past me."
"I'm sure it helps to have a photographic memory."
Echo grinned.
"Perhaps you should be doing my job."
"Now, Stefan." Echo reached out to press the second-floor button.
"Some day you will have my job. But you'll have to pry it from my cold, dead fingers."
Echo grinned again. The elevator stopped on two.
"What are you doing? Aren't we leaving?"
"In a little while." Echo stepped off the elevator and beckoned to Stefan. "This way."
"What? Where are you dragging me to? I'm desperate to have a smoke and find out how My Little Margie placed in the fourth."
Echo looked at her new watch, a twenty-second birthday present from her fiance that she knew had cost far more than either of them should have been spending on presents.
"There's time. I want to see the Ransome they've borrowed for their show of twentiedi-century portraitists."
"Oh, dear God!" But he got off the elevator with Echo. "I detest Ransome! Such transparent theatrics.
I've seen better art on a sailor's ass."
"Really, Stefan?"
"Although not all that recently, I'm sorry to say."
The gallery in which the exhibition was being mounted was temporarily closed to the public, but they wore badges allowing them access to any part of the Highbridge. Echo ignored frowns from a couple of dithering functionaries and went straight to the portrait by Ransome that was already in place and lighted.
The subject was a seated nude, blond, Godiva hair. Ransome's style was impressionistic, his canvas flooded with light. The young woman was casually posed, like a Degas girl taking a backstage break, her face partly averted. Stefan had his usual attitude of near-suicidal disdain. But he found it hard to look away.