Everything's Eventual skssc-4

by Stephen King

  There was a small but loyal contingent in Stovington which claimed Roll Em's death was an accident, that Silver Star winners don't jump off their roofs even if they have lost a wife to cancer in the last year or so, but the rest pointed out that the guy probably hadn't been repairing the shingles—not in his nightshirt, not at two o'clock in the morning.

  Suicide was the verdict.

  Yeah. Right. Kiss my ass and go to Heaven.

  XVIII

  I left the library and thought I'd head home. Instead, I went back to the same park bench again. I sat there until the sun was low and the place had pretty much emptied out of kids and Frisbee-catching dogs. And although I'd been in Columbia City for three months by then, it was the latest I'd ever been out. That's sad, I guess. I thought I was living a life here, finally getting away from Ma and living a life, but all I've been doing is throwing a shadow.

  If people, certain people, were checking up on me, they might wonder why the change in routine. So I got up, went on home, boiled up a bag of that shit-on-a-shingle stuff, and turned on my TV. I've got cable, the full package including premium movie channels, and I've never seen a single bill. How's that for an eventual deal? I turned on Cinemax. Rutger Hauer was playing a blind karate-fighter. I sat down on the couch beneath my fake Rembrandt and watched the show. I didn't see it, but I ate my chow and looked at it.

  I thought about stuff. About a newspaper columnist who had liberal ideas and a conservative readership. About an AIDS researcher who served an important linking function with other AIDS researchers. About an old general who changed his mind. I thought about the fact that I only knew these three by name because they didn't have modems and e-mail capability.

  There was other stuff to think about, too. Like how you could hypnotize a talented guy, or drug him, or maybe even expose him to other talented guys in order to keep him from asking any of the wrong questions or doing any of the wrong things. Like how you could make sure such a talented guy couldn't run away even if he happened to wake up to the truth. You'd do that by setting him up in what was, essentially, a cashless existence . . . a life where rule number one was no ratholing any extra dough, not even pocket-change. What sort of talented guy would fall for something like that? A naive one, with few friends and next to no self-image. A guy who would sell you his talented soul for a few groceries and seventy bucks a week, because he believes that's about what it's worth.

  I didn't want to think about any of that. I tried to concentrate on Rutger Hauer, doing all that amusing blind karate shit (Pug would have laughed his ass off if he'd been there, believe me), so I wouldn't have to think about any of that.

  Two hundred, for instance. There was a number I didn't want to think about. 200. 10 x 20, 40 x 5. CC, to the old Romans. At least two hundred times I'd pushed the button that brought the message DINKYMAIL SENT up on my screen.

  It occurred to me—for the first time, as if I was finally waking up—that I was a murderer. A mass murderer.

  Yes indeed. That's what it comes down to.

  Good of mankind? Bad of mankind? Indifferent of mankind? Who makes those judgements? Mr. Sharpton? His bosses? Their bosses? And does it matter?

  I decided it didn't matter a fuck in a rabbit-hutch. I further decided I really couldn't spend too much time moaning (even to myself) how I had been drugged, hypnotized, or exposed to some kind of mind-control. The truth was, I'd been doing what I was doing because I loved the feeling I got when I was composing the special letters, the feeling that there was a river of fire running through the center of my head.

  Mostly, I'd been doing it because I could.

  "That's not true," I said . . . but not real loud. I whispered it under my breath. They probably don't have any bugs planted here, I'm sure they don't, but it's best to be safe.

  I started writing this . . . what is it? A report, maybe. I started writing this report later that night . . . as soon as the Rutger Hauer movie was over, in fact. I write in a notebook, though, not on my computer, and I write in plain old English. No sankofites, no bews, no smims. There's a loose floor-tile under the Ping-Pong table down in the basement. That's where I keep my report. I just now looked back at how I started. I've got a good job now, I wrote, and no reason to feel glum. Idiotic. But of course, any fool who can pucker is apt to whistle past the graveyard.

  When I went to bed that night, I dreamed I was in the parking lot of the Supr Savr. Pug was there, wearing his red duster and a hat on his head like the one Mickey Mouse wore in Fantasia—that's the movie where Mickey played the Sorcerer's Apprentice. Halfway across the parking lot, shopping carts were lined up in a row. Pug would raise his hand, then lower it. Each time he did this, a cart would start rolling by itself, gathering speed, rushing across the lot until it crashed into the brick side of the supermarket. They were piling up there, a glittering junkheap of metal and wheels. For once in his life, Pug wasn't smiling. I wanted to ask him what he was doing and what it meant, but of course I knew.

  "He's been good to me," I told Pug in this dream. It was Mr. Sharpton I meant, of course. "He's been really, really eventual."

  Pug turned fully to me then, and I saw it wasn't Pug at all. It was Skipper, and his head had been smashed in all the way down to the eyebrows. Shattered hunks of skull stuck up in a circle, making him look like he was wearing a bone crown.

  "You're not looking through a bombsight," Skipper said, and grinned. "You are the bombsight. How do you like that, Dinkster?"

  I woke up in the dark of my room, sweating, with my hands over my mouth to hold in a scream, so I guess I didn't like it very much.

  XIX

  Writing this has been a sad education, let me tell you. It's like hey, Dink, welcome to the real world. Mostly it's the image of grinding up dollar bills in the kitchen pig that comes to me when I think about what has happened to me, but I know that's only because it's easier to think of grinding up money (or chucking it into the storm-drain) than it is to think about grinding up people. Sometimes I hate myself, sometimes I'm scared for my immortal soul (if I have one), and sometimes I'm just embarrassed. Trust me, Mr. Sharpton said, and I did. I mean, duh, how dumb can you get? I tell myself I'm just a kid, the same age as the kids who crewed those B-25s I sometimes think about, that kids are allowed to be dumb. But I wonder if that's true when lives are at stake.

  And, of course, I'm still doing it.

  Yes.

  I thought at first that I wouldn't be able to, no more than the kids in Mary Poppins could keep floating around the house when they lost their happy thoughts . . . but I could. And once I sat down in front of the computer screen and that river of fire started to flow, I was lost. You see (at least I think you do), this is what I was put on Planet Earth for. Can I be blamed for doing the thing that finishes me off, that completes me?

  Answer: yes. Absolutely.

  But I can't stop. Sometimes I tell myself that I've gone on because if I do stop—maybe even for a day—they'll know I've caught on, and the cleaners will make an unscheduled stop. Except what they'll clean up this time will be me. But that's not why. I do it because I'm just another addict, same as a guy smoking crack in an alley or some chick taking a spike in her arm. I do it because of the hateful fucking rush, I do it because when I'm working in DINKY'S NOTEBOOK, everything's eventual. It's like being caught in a candy trap. And it's all the fault of that dork who came out of News Plus with his fucking Dis patch open. If not for him, I'd still see nothing but cloud-hazy buildings in the crosshairs. No people, just targets.

  You are the bombsight, Skipper said in my dream. You are the bombsight, Dinkster.

  That's true. I know it is. Horrible but true. I'm just another tool, just the lens the real bombardier looks through. Just the button he pushes.

  What bombardier, you ask?

  Oh come on, get real.

  I thought of calling him, how's that for crazy? Or maybe it's not. "Call me anytime, Dink, even three in the morning." That's what the man said, and I'm pretty sure that's wha
t the man meant—about that, at least, Mr. Sharpton wasn't lying.

  I thought of calling him and saying, "You want to know what hurts the most, Mr. Sharpton? That thing you said about how I could make the world a better place by getting rid of people like Skipper. The truth is, you're the guys like Skipper."

  Sure. And I'm the shopping cart they chase people with, laughing and barking and making race-car sounds. I work cheap, too . . . at bargain-basement rates. So far I've killed over two hundred people, and what did it cost TransCorp? A little house in a third-rate Ohio town, seventy bucks a week, and a Honda automobile. Plus cable TV. Don't want to forget that.

  I stood there for awhile, looking at the telephone, then put it down again. Couldn't say any of that. It would be the same as putting a Baggie over my head and then slitting my wrists.

  So what am I going to do?

  Oh God, what am I going to do?

  XX

  It's been two weeks since I last took this notebook out from under the basement tile and wrote in it. Twice I've heard the mail-slot clack on Thursdays, during As the World Turns, and gone out into the hall to get my money. I've gone to four movies, all in the afternoon. Twice I've ground up money in the kitchen pig, and thrown my loose change down the storm-drain, hiding what I was doing behind the blue plastic recycling basket when I put it down on the curb. One day I went down to News Plus, thinking I'd get a copy of V ariations or Forum, but there was a headline on the front of the Dispatch that once again took away any sexy feelings I might have had. POPE DIES OF HEART ATTACK ON PEACE MISSION, it said.

  Did I do it? Nah, the story said he died in Asia, and I've been sticking to the American Northwest these last few weeks. But I could have been the one. If I'd been nosing around in Pakistan last week, I very likely would have been the one.

  Two weeks of living in a nightmare.

  Then, this morning, there was something in the mail. Not a letter, I've only gotten three or four of those (all from Pug, and now he's stopped writing, and I miss him so much), but a Kmart advertising circular. It flopped open just as I was putting it into the trash, and something fluttered out. A note, printed in block letters. DO YOU WANT OUT? it read. IF YES, SEND MESSAGE "DON'T STAND SO CLOSE TO ME" IS BEST POLICE SONG.

  My heart was beating hard and fast, the way it did on the day I came into my house and saw the Rembrandt print over the sofa where the velvet clowns had been.

  Below the message, someone had drawn a fouder. It was harmless just sitting there all by itself, but looking at it still made all the spit in my mouth dry up. It was a real message, the fouder proved it, but who had it come from? And how did the sender know about me?

  I went into the study, walking slowly with my head down, thinking. A message tucked into an advertising circular. Hand-printed and tucked into an advertising circular. That meant someone close. Someone in town.

  I turned on my computer and modem. I called the Columbia City Public Library, where you can surf cheap . . . and in relative anonymity. Anything I sent would go through TransCorp in Chicago, but that wasn't going to matter. They weren't going to suspect a thing. Not if I was careful.

  And, of course, if there was anybody there.

  There was. My computer connected with the library's computer, and a menu flashed on my screen. For just a moment, something else flashed on my screen, as well.

  A smim.

  In the lower righthand corner. Just a flicker.

  I sent the message about the best Police song and added a little touch of my own down in The Dead Folks' Nook: a sankofite.

  I could write more—things have started to happen, and I believe that soon they'll be happening fast—but I don't think it would be safe. Up to now, I've just talked about myself. If I went any further, I'd have to talk about other people. But there are two more things I want to say.

  First, that I'm sorry for what I've done—for what I did to Skipper, even. I'd take it back if I could. I didn't know what I was doing. I know that's a piss-poor excuse, but it's the only one I have.

  Second, I've got it in mind to write one more special letter . . . the most special of all.

  I have Mr. Sharpton's e-mail address. And I have something even better: a memory of how he stroked his lucky tie as we sat in his big expensive Mercedes. The loving way he ran his palm over those silk swords. So, you see, I know just enough about him. I know just what to add to his letter, how to make it eventual. I can close my eyes and see one word floating there in the darkness behind my lids—floating there like black fire, deadly as an arrow fired into the brain, and it's the only word that matters:

  EXCALIBUR.

  L.T.'s Theory of Pets

  I guess if I have a favorite in this collection of stories, "L.T." would be it. The origin of the story, so far as I can remember, was a "Dear Abby" column where Abby opined that a pet is just about the worst sort of present one can give anyone. It makes the assumption that the pet and the recipient will hit it off, for one thing; it assumes that feeding an animal twice a day and cleaning up its messes (both indoors and out) was the very thing you had been pining to do. So far as I can remember, she called the giving of pets "an exercise in arrogance." I think that's laying it on a bit thick. My wife gave me a dog for my fortieth birthday, and Marlowe—a Corgi who's now fourteen and has only one eye—has been an honored part of the family ever since. During five of those years we also had a rather crazed Siamese cat named Pearl. It was while watching Marlowe and Pearl interact—which they did with a kind of cautious respect—that I first started thinking about a story where the pets in a marriage would imprint not upon the nominal owner of each, but on the other. I had a marvelous time working on it, and whenever I'm called upon to read a story out loud, this is the one I choose, always assuming I have the required fifty minutes it takes. It makes people laugh, and I like that. What I like even more is the unexpected shift in tone, away from humor and toward sadness and horror, which occurs near the end. When it comes, the reader's defenses are down and the story's emotional payoff is a little higher. For me, that emotional payoff is what it's all about. I want to make you laugh or cry when you read a story . . . or do both at the same time. I want your heart, in other words. If you want to learn something, go to school.

  My friend L.T. hardly ever talks about how his wife disappeared, or how she's probably dead, just another victim of the Axe Man, but he likes to tell the story of how she walked out on him. He does it with just the right roll of the eyes, as if to say, "She fooled me, boys—right, good, and proper!" He'll sometimes tell the story to a bunch of men sitting on one of the loading docks behind the plant and eating their lunches, him eating his lunch, too, the one he fixed for himself— no Lulubelle back at home to do it for him these days. They usually laugh when he tells the story, which always ends with L.T.'s Theory of Pets. Hell, I usually laugh. It's a funny story, even if you do know how it turned out. Not that any of us do, not completely.

  "I punched out at four, just like usual," L.T. will say, "then went down to Deb's Den for a couple of beers, just like most days. Had a game of pinball, then went home. That was where things stopped being just like usual. When a person gets up in the morning, he doesn't have the slightest idea how much may have changed in his life by the time he lays his head down again that night. 'Ye know not the day or the hour,' the Bible says. I believe that particular verse is about dying, but it fits everything else, boys. Everything else in this world. You just never know when you're going to bust a fiddle-string.

  "When I turn into the driveway I see the garage door's open and the little Subaru she brought to the marriage is gone, but that doesn't strike me as immediately peculiar. She was always driving off someplace—to a yard sale or someplace—and leaving the goddam garage door open. I'd tell her, 'Lulu, if you keep doing that long enough, someone'll eventually take advantage of it. Come in and take a rake or a bag of peat moss or maybe even the power mower. Hell, even a Seventh-Day Adventist fresh out of college and doing his merit badge rounds will steal
if you put enough temptation in his way, and that's the worst kind of person to tempt, because they feel it more than the rest of us.' Anyway, she'd always say, 'I'll do better, L.T., try, anyway, I really will, honey.' And she did do better, just backslid from time to time like any ordinary sinner.

  "I park off to the side so she'll be able to get her car in when she comes back from wherever, but I close the garage door. Then I go in by way of the kitchen. I check the mailbox, but it's empty, the mail inside on the counter, so she must have left after eleven, because he don't come until at least then. The mailman, I mean.

  "Well, Lucy's right there by the door, crying in that way Siamese have—I like that cry, think it's sort of cute, but Lulu always hated it, maybe because it sounds like a baby's cry and she didn't want anything to do with babies. 'What would I want with a rugmonkey?' she'd say.

  "Lucy being at the door wasn't anything out of the ordinary, either. That cat loved my ass. Still does. She's two years old now. We got her at the start of the last year we were married. Right around. Seems impossible to believe Lulu's been gone a year, and we were only together three to start with. But Lulubelle was the type to make an impression on you. Lulubelle had what I have to call star quality. You know who she always reminded me of? Lucille Ball. Now that I think of it, I guess that's why I named the cat Lucy, although I don't remember thinking it at the time. It might have been what you'd call a subconscious association. She'd come into a room—Lulubelle, I mean, not the cat—and just light it up somehow. A person like that, when they're gone you can hardly believe it, and you keep expecting them to come back.