by Stephen King
“I’ve been to the front door!” Peter called. “The street’s deserted all the way down to the corner! Completely deserted! No gawkers or rubberneckers from Hyacinth or the next block of Poplar. Does that make any sense to you?”
Belinda thought, frowning, then looked around. She saw only puzzled eyes and dropped heads. She turned back to the window. “No!”
Peter laughed. The sound chilled her the way that little Ralphie Carver’s distraught muttering had chilled her. “Join the club, Bee! Makes no sense to me, either!”
“Who’d come on the block?” Kim Geller scoffed. “Who in their right minds? With guns going off and people screaming and everything?”
Belinda didn’t know how to respond to that. It was logical, but it still didn’t hold water… because people didn’t behave logically when trouble broke out. They came and they gawked. Usually they did it at what they hoped was a safe distance, but they came.
“Are you sure there aren’t people down below the corner?” she called.
This time the pause was so long she was about to repeat the question when a third voice spoke up. She had no trouble recognizing Old Doc. “None of us sees anyone, but the rain has started a mist off the pavement! Until it clears, we can’t tell for sure!”
“But there are no sirens!” Peter again. “Do you hear any coming from the north?”
“No!” she returned. “It must be the storm!”
“I don’t think so,” Cammie Reed said. She spoke for herself, to herself, not the group; if YE OLDE PANTRIE hadn’t been in close proximity to the sink, Belinda wouldn’t have heard her. “Nope, I don’t think so at all.”
“I’m going out to get my wife!” Peter Jackson called. Other voices were immediately raised in protest against this idea. Belinda couldn’t make out the words, but the emotional tone was unmistakable.
Suddenly the spider-the one she had assumed was dead-scattered from the center of its web and mounting one of the silk strands scrambled up until it had disappeared under the eave. Not dead after all, Belinda thought. Only playing possum.
Then Kirsten Carver was leaning past her, bumping Belinda so hard with her shoulder that Belinda would have gone ass-deep into the sink if she hadn’t managed to grab the corner of an overhead cabinet. Pie’s face was parchment-pale, her eyes blazing with fear.
“Don’t you go out there!” she screamed. “They’ll come back and kill you! They’ll come back and kill us all!”
No answer from the other house for several moments, and then Collie Entragian spoke up in a voice that sounded both apologetic and bemused: “No good, ma’am! He’s gone!”
“You should have stopped him!” Kirsten screamed. Belinda put an arm around the woman’s shoulders and was frightened by the steady high vibration she felt. As if Kirste n was on the verge of exploding. What kind of policeman are you!”
“He’s not,” Kim said. She spoke in a just-what-the-hell-did-you-expect tone. “He got kicked off the force. He was running a hot-car ring.”
Susi raised her head. “I don’t believe it.”
“What do you know about it, a girl your age?” her mother asked.
Belinda was about to slide off the edge of the sink when she saw something on the back lawn that made her freeze. It was caught against one leg of the kids” swing set, and like the spider’s web, jeweled with hanging drops of rain.
“Cammie?”
“What?”
“Come here.”
If anyone would know, Cammie would; she had a garden in her backyard, a jungle of potted plants inside her house, and a library’s worth of books on growing things.
Cammie got up from her place by the pantry door, and came over. Susi and her mother joined her; so did Dave Reed.
“What?” Pie Carver asked, turning a wild gaze on Belinda. Pie’s daughter had her arms wrapped around her mother’s leg as if it were a treetrunk, and was still trying to hide her face against the hip of Pie’s denim shorts. “What is it?”
Belinda ignored her and spoke to Cammie. “Look over there. By the swings. Do you see?”
Cammie started to say she didn’t, then Belinda pointed and she did. Thunder mumbled to the east of them, and the breeze kicked up a brief gust. The spider’s web outside the window shivered and shed tiny droplets of rain. The thing Belinda had seen got free of the swing set and rolled partway across the Carvers” backyard, in the direction of the stake fence.
“That’s impossible,” Cammie said flatly. “Russian thistle doesn’t grow in Ohio. Even if it did… this is summer. They root in summer.”
“What’s Russian thistle, Mom?” Dave asked. His arm was around Susi’s waist. “I never heard of it.”
Tumbleweed,” Cammie said in that same flat voice. “Russian thistle is tumbleweed.”
Brad poked his head through Carver’s office door just in time to see Johnny pull a green-and-white box of cartridges out of a desk drawer. In his other hand, the writer had David Carver’s pistol. He had rolled the cylinder out to make sure the chambers were empty; they were, but he was still holding the gun awkwardly, with all of his fingers outside the trigger-guard. To Brad he looked like one of those guys who sold dubious items on high-channel cable TV:
Folks, this little beauty will ventilate any night-time intruder unwise enough to pick your house, yes, of course it will, but wait, there’s more! It slices! It dices! And do you love scalloped potatoes but just never have time to make them at home?
“Johnny.”
He looked up, and for the first time Brad saw clearly how frightened the man was. It made him like Johnny better. He couldn’t think of a reason why that should be, but it was.
“There’s a fool out on Old Doc’s lawn. Jackson, I guess.”
“Shit. That’s not very bright, is it?”
“No. Don’t shoot yourself with that thing.” Brad started out of the room, then turned back. “Are we crazy? Because it feels that way.”
Johnny raised his hands in front of him, palms up, to indicate he didn’t know.
Johnny looked into the chambers of the pistol one more time-as if a bullet might have grown in one of them while he wasn’t looking-then snapped the cylinder back into place. He stuck the pistol in his belt and tucked the box of cartridges into his shirt pocket.
The front hall was a minefield of Ralphie Carver’s boy-toys; the kid had apparently not yet been introduced by his doting parents to the concept of picking up after himself. Brad went into what had to be the little girl’s bedroom. Johnny followed him. Brad pointed out the window.
Johnny looked down. It was Peter Jackson, all right. He was on Doc’s lawn, kneeling beside his wife. He had gotten her into a sitting position again. One arm was around her back. He was working the other under her cocked knees. Her skirt was well up on her thighs, and Johnny thought again about her missing pants. Well, so what? So fucking what? Johnny could see the man’s back shaking as sobs racked him.
Silver light ran across the top of his vision.
He looked up and saw what looked like an old Airstream trailer-or maybe a lunch-wagon-turning left on to Poplar from Hyacinth. Close behind it was the red van that had taken care of the dog and the paperboy, and behind that was the one with the dark blue metal-flake paint. He looked the other way, up toward Bear Street, and saw the van with the Mary Kay paintjob and the Valentine radar-dish, the yellow one that had first rear-ended Mary and then rode her off the street, and the black one with the turret.
Six of them. Six in two converging lines of three. He had seen American LAC vehicles in the same formation a long time ago, in Vietnam.
They were creating a fire-corridor.
For a moment he couldn’t move. His hands seemed to hang at the ends of his arms like plugs of cement. You can’t, he thought with a kind of sick, unbelieving fury. You can’t come back, you bastards, you can’t keep coming back.
Brad didn’t see them; he was looking at the man on the lawn of the house next door, absorbed in Peter’s effort to get up wi
th his wife’s dead weight in his arms. And Peter…
Johnny got his right hand moving. He wanted it to streak; it seemed to float instead. He got it around the handle of the gun and pulled it out of the waistband of his pants. Couldn’t shoot it; no loads in the chambers. Couldn’t load it, either, not in his current state. So he brought it down butt-first, shattering the glass of Ellen’s bedroom window.
“Get inside!” he screamed at Peter, and his voice came out sounding low and strengthless to his own ears. Dear God, what nightmare was this, and how had they stumbled into it? “Get inside! They’re coming again! They’re back! They’re coming again!”
Drawing found folded into an unfitted notebook which apparently served as Audrey Wyler’s journal. Although unsigned, it is almost certainly the work of Seth Garin. If one assumes that its placement in the journal corresponds to the time it was done, then it was made in the summer of 1995, after the death of Herbert Wyler and the Hobart family’s abrupt departure from Poplar Street.
Chapter Seven
POPLAR STREET/4:44 P.M./JULY 15, 1996
They seem to come out of the mist rising off the street like materializing metal dinosaurs. Windows slide down; the porthole on the flank of the pink Dream Floater irises open again; the windshield of Bounty’s blue Freedom van retracts into a smooth darkness from which three grayish shotgun barrels bristle.
Thunder rumbles and somewhere a bird cries harshly. There is a beat of silence, and then the shooting begins.
It’s like the thunderstorm all over again, only worse, because this time it’s personal. And the guns are louder than before; Collie Entragian, lying face-down in the doorway between Billingsley’s kitchen and living room, is the first to notice this, but the others are not long in realizing it for themselves. Each shot is almost like a grenade blast, and each is followed by a low moaning sound, something caught between a buzz and a whistle.
Two shots from the red Tracker Arrow and the top of Collie Entragian’s chimney is nothing but maroon dust in the wind and pebble-sized chunks of brick pattering down on his roof. A shot strikes the plastic spread over Gary Ripton, making it ripple like a parachute, and another tears off the rear wheel of his bike. Ahead of Tracker Arrow is the silver van, the one that looks like an old-fashioned lunch-wagon. Part of its roof rises at an angle, and a silver figure-it appears to be a robot in a Confederate infantryman’s uniform-leans out. It mails three shotgun rounds special express into the burning Hobart house. Each report seems as loud as a dynamite blast.
Coming downhill from Bear Street, Dream Floater and the Justice Wagon pour fire into 251 and 249-the Josephson house and the Soderson house. The windows blow in. The doors blow open. A round that sounds like something thrown from a small anti-aircraft gun hits the back of Gary’s old Saab. The back end crumples in, shards of red taillight glass fly, and there’s a whoomp! as the gas-tank explodes, engulfing the little car in a ball of smoky orange flame. The bumper-stickers-I MAY BE SLOW BUT I’M AHEAD OF YOU on the right, MAFIA STAFF CAR on the left-shimmer in the heat like mirages. The south-moving trio of vans and the trio moving north meet, cross, and stop in front of the stake fences separating the Billingsley place from the Carver house above it and the Jackson house below it.
Audrey Wyler, who was eating a sandwich and drinking a can of lite beer in the kitchen when the shooting started, stands in the living room, staring out at the street with wide eyes, unaware that she’s still holding half of a salami and lettuce on rye in one hand. The firing has merged into one continuous, ear-splitting World War III roar, but she is in no danger; all of it is currently being directed at the two houses across from her.
She sees Ralphie Carver’s red wagon-Buster-rise into the air with one side blown into a twisted metal flower. It cartwheels over David Carver’s soggy corpse, lands with its wheels up and spinning, and then another hit bends it almost double and sends it into the flowers to the left of the driveway. Another round blows the Carver screen door off its hinges and hammers it down the hall; two more from Bounty’s Freedom van vaporize most of Pie’s prized Hummel figures.
Holes open in the crushed back deck of Mary Jackson’s Lumina, and then it too explodes, flames belching up and swallowing the car back to front. Bullets tear off two of Old Doc’s shutters. A hole the size of a baseball appears in the mailbox mounted beside his door; the box drops to the welcome mat, smoking. Inside it, a Kmart circular and a letter from the Ohio Veterinary Society are blazing. Another KA-BAM and the bungalow’s door-knocker-a silver St Bernard’s head-disappears as conclusively as a coin in a magician’s hand. Seeming oblivious of all this, Peter Jackson struggles to his feet with his dead wife in his arms. His round rimless glasses, the lenses spotted with water, glint in the strengthening light. His pale face is more than distracted; it is the face of a man whose entire bank of fuses has burned out. But he’s standing there, Audrey sees, miraculously whole, miraculously-
Aunt Audrey!
Seth. Very faint, but definitely Seth.
Aunt Audrey, can you hear me?
Yes! Seth, what’s happening?
Never mind! The voice sounds on the edge of panic. You have the place you go, don’t you?
The safe place?
Mohonk? Did he mean Mohonk? He must, she decided.
Yes, I-
Go there! the faint voice cries. Go there NOW! Because-
The voice doesn’t finish, and doesn’t have to. She has turned away from the furious shooting-gallery in the street, turned toward the den, where the movie-The Movie-is playing again. The volume has been cranked, somehow, far beyond what their Zenith should be able to produce. Seth’s shadow bounces ecstatically up and down on the wall, elongated and somehow horrible; it reminds her of what scared her most as a child, the horned demon from the “Night on Bald Mountain” segment of Fantasia. It’s as if Tak is twisting inside the child’s body, warping it, stretching it, driving it ruthlessly beyond its ordinary limits and boundaries.
Nor is that all that’s happening. She turns back to the window, stares out. At first she thinks it’s her eyes, something wrong with her eyes-perhaps Tak has melted them somehow, or warped the lenses-but she holds her hands up in front of her and they look all right. No, it’s Poplar Street that’s wrong. It seems to be twisting out of perspective in some way she can’t quite define, angles changing, corners bulging, colors blurring. It’s as if reality is on the verge of liquefying, and she thinks she knows why: Tak’s long period of preparation and quiet growth is over. The time of action has come. Tak is making, Tak is building. Seth told her to get out, at least for a while, but where can Seth go?
Seth! she tries, concentrating as hard as she can. Seth, come with me!
I can’t! Go, Aunt Audrey! Go now!
The agony in that voice is more than she can endure. She turns toward the arch again, the one which leads into the den, but sees a meadow slanting down to a rock wall instead. There are wild roses; she smells them and feels the sexy, delicate heat of spring now tending toward summer. And then Janice is beside her and Janice is asking her what her all-time favorite Simon and Garfunkel song is and soon they are deep in a discussion of “Homeward Bound” and “I Am a Rock”, the one that goes “If I’d never loved, I never would have cried.”
In the Carver kitchen, the refugees lie on the floor with their hands laced over the backs of their heads and their faces pressed to the floor; around them the world seems to be tearing itself apart. Glass shatters, furniture falls, something explodes. There are horrible punching sounds as bullets pound through the walls.
Suddenly Pie Carver can stand Ellie’s clinging to her no more. She loves Ellen, of course she does, but it’s Ralphie she wants now, and Ralphie she must have; smart, sassy Ralphie, who looks so much like his father. She pushes Ellen roughly away, ignoring the girl’s cry of startled dismay, and bolts for the niche between the stove and the fridge, where Jim is hunched over the frantic, screaming Ralphie, holding one hand over the back of Ralphie’s head like a cap.
“Mommmmeeee!” Ellen wails, and attempts to run after her. Cammie Reed pushes away from the pantry door, grabs the little girl around the waist, and drops her back to the floor just as something that sounds like a monster locust drones across the kitchen, strikes the kitchen faucet, and backflips it like a majorette’s baton. Most of the spinning faucet tears through the screen and the spider’s web on the other side. Water spouts up from what’s left, at first almost all the way to the ceiling.
“Give him to me!” Pie screams. “Give me my son! Give me my s-”
Another approaching drone, this one followed by a loud, unmusical clang as one of the copper pots hanging by the stove is hammered into a hulk of twisted fragments and flying shrapnel. And Pie is suddenly just screaming, no words now, just screaming. Her hands are clapped to her face. Blood pours through her fingers and down her neck. Threads of copper litter the front of her misbuttoned blouse. More copper is in her hair, and a large chunk quivers in the center of her forehead like the blade of a thrown knife.
“I can’t see!” she shrieks, and drops her hands. Of course she can’t; her eyes are gone. So is most of her face. Quills of copper bristle from her cheeks, her lips, her chin. “Help me, I can’t see! Help me, David! Where are you?”
Johnny, lying face-down beside Brad in Ellen’s room upstairs can hear her screaming and understands that something terrible has happened. Bullets hemstitch the air above them. On the far wall is a picture of Eddie Vedder; as Johnny starts to wriggle toward the doorway to the hall, a huge bullet-hole appears in Eddie’s chest. Anothe r one hits the child-sized vanity mirror over Ellen’s dresser and hammers it to sparkling fragments. Somewhere on the block, blending hellishly with the sounds of Pie Carver’s screams from downstairs, comes the bray of a car alarm. And still the gunfire goes on.
As he crawls out into the toy-littered hall, he hears Brad beside him, panting harshly. This has been a hell of an aerobic day for a fellow with such a big stomach, Johnny thinks… but then that thought, the sound of the woman screaming downstairs, and the roar of the gunfire are all driven from his mind. For a moment he feels as if he has walked into a Mike Tyson right hand.