Kineo Town Manager: 'I Don't Know What They 19 page

Then he hears someone crying. He looks across to the far side of Prospect and oh God, Duddits is there, Duddits Cavell naked except for his Underoos, and there is brown stuff smeared all around his mouth. It looks like chocolate, but Jonesy knows better. It's dogshit, that bastard Richie made him eat it after all, and people over there are walking back and forth regardless, ignoring him, as if Duddits wasn't there.

'Duddits!' Jonesy calls. 'Duddits, hang on, man, I'm coming!'

And he plunges into the street without looking, the passenger inside helpless to do anything but ride along, understanding at last that this was exactly how and why the accident happened — the old man, yes, the old man with early-stage Alzheimer's who had no business behind the wheel of a car in the first place, but that had only been part of it. The other part, concealed in the blackness surrounding the crash until now, was this: he had seen Duddits and had simply bolted, forgetting to look.

He glimpses something more, as well: some huge pattern, something like a dreamcatcher that binds all the years since they first met Duddits Cavell in 1978, something that binds the future as well.

Sunlight twinkles on a windshield; he sees this in the comer of his left eye. A car coming, and too fast. The man who was beside him on the curb, old Mr I-Didn't-Say-Anything, cries out: 'Watch it, guy, watch it!' but Jonesy barely hears him. Because there is a deer on the sidewalk behind Duddits, a fine big buck, almost as big as a man. Then, just before the Town Car strikes him, Jonesy sees the deer is a man, a man in an orange cap and an orange flagman's vest. On his shoulder, like a hideous mascot, is a legless weasel-thing with enormous black eyes. Its tail — or maybe it's a tentacle — is curled around the man's neck. How in God's name could I have thought he was a deer? Jonesy thinks, and then the Lincoln strikes him and he is knocked into the street. He hears a bitter, muffled snap as his hip breaks.

There is no darkness, not this time; for better or worse, arc-sodiums have been installed on Memory Lane. Yet the film is confused, as if the editor took a few too many drinks at lunch and forgot just how the story was supposed to go. Part of this has to do with the strange way time has been twisted out of shape: he seems to be living in the past, present, and future all at the same time.

This is how we travel, a voice says, and Jonesy realizes it is the voice he heard weeping for Marcy, for a shot. Once acceleration passes a certain point, all travel becomes time travel. Memory is the basis of every journey.

The man on the corner, old Mr I-Didn't-Say-Anything, bends over him, asks if he's all right, sees that he isn't, then looks up and says, 'Who's got a cell phone? This guy needs an ambulance.' When he raises his head, Jonesy sees there's a little cut under the guy's chin, old Mr I-Didn't-Say-Anything probably did it that morning without even realizing it. That's sweet, Jonesy thinks, then the film jumps and here's an old dude in a rusty black topcoat and a fedora hat — call this elderly dickweed old Mr What'd-l-Do. He's wandering around asking people that. He says he looked away for a moment and felt a thump — what'd I do? He says he has never liked a big car ­what'd I do? He says he can't remember the name of the insurance company, but they call themselves the Good Hands People — what'd I do? There is a stain on the crotch of his trousers, and as Jonesy lies there in the street he can't help feeling a kind of exasperated pity for the old geezer — wishes he could tell him You want to know what you did, take a look at your pants. You did Number One, Q—E—fuckin—D.

The film jumps again. Now there are even more people gathered around him. They look very tall and Jonesy thinks it's like having a coffin's-eye view of a funeral. That makes him remember a Ray Bradbury story, he thinks it's called 'The Crowd,' where the people who gather at accident sites — always the same ones ­determine your fate by what they say. If they stand around you murmuring that it isn't so bad, he's lucky the car swerved at the last second, you'll be okay. If, on the other hand, the people who make up the crowd start saying things like He looks bad or I don't think he's going to make it, you'll die. Always the same people. Always the same empty, avid faces. The lookie-loos who just have to see the blood and hear the groans of the injured.

In the cluster surrounding him, just behind old Mr I-Didn't-Say-Anything, Jonesy sees Duddits Cavell, now fully dressed and looking okay — no dogshit mustache, in other words. McCarthy is there, too. Call him old Mr I-Stand-at-the-Door-and-Knock, Jonesy thinks. And someone else, as well. A gray man. Only he's not a man at all, not really; he's the alien that was standing behind him while Jonesy was at the bathroom door. Huge black eyes dominate a face which is otherwise almost featureless. The saggy dewlapping elephant's skin is tighter here; old Mr ET-Phone-Home hasn't started to succumb to the environment yet. But he will. In the end, this world will dissolve him like acid.

Your head exploded, Jonesy tries to tell the gray man, but no words come out; his mouth won't even open. And yet old Mr ET-Phone-Home seems to hear him, because that gray head inclines slightly.

He's passing out, someone says, and before the film jumps again he hears old Mr What'd-I-Do, the guy who hit him and smashed his hip like a china plate in a shooting gallery, telling someone People used to say I look like Laurence Welk.

He's unconscious in the back of an ambulance but watching himself, having an actual out-of-body experience, and here is something else new, something no one bothers to tell him about later: he goes into V-tach while they are cutting his pants off, exposing a hip that looks as 1 if someone had sewn two large and badly made doorknobs under it. V-tach, he knows exactly what that is because he and Carla never miss an episode of ER, they even watch the reruns on TNT, and here come the paddles, here comes the goo, and one of the EMTs is wearing a gold crucifix around his neck, it brushes Jonesy's nose as old Mr EMT bends over what is essentially a dead body, and holy fuck he died in the ambulance! Why did no one ever tell him that he died in the fucking ambulance? Did they think that maybe he wouldn't be interested, that maybe he'd just go Ho-hum, been there, done that, got the tee-shirt?

'Clear!' shouts the other EMT, and just before they hit him the driver looks back and he sees it's Duddits's Mom. Then they whack him with the juice and his body jumps, all that white meat shakin on the bone, as Pete would say, and although the Jonesy watching has no body, he feels the electricity just the same, a great big pow that lights up the tree of his nerves like a skyrocket. Praise Jesus and get-down hallelujah.

The part of him on the stretcher jumps like a fish pulled from the water, then lies still. The EMT crouched behind Roberta Cavell looks down at his console and says, 'Ah, man, no, flatline, hit him again.' And when the other guy does, the film jumps and Jonesy's in an operating room.

No, wait, that's not quite right. Part of him's in the OR, but the rest of him is behind a piece of glass and looking in. Two other doctors are here, but they show no interest in the surgical team's efforts to put Jonesy-Dumpty back together again. They are playing cards. Above their heads, wavering in the airflow from a heating-vent, is the dreamcatcher from Hole in the Wall.

Jonesy has no urge to watch what's going on behind the glass — he doesn't like the bloody crater where his hip was, or the bleary gleam of shattered bone nosing out of it. Although he has no stomach to be sick to in his disembodied state, he feels sick to it just the same.

Behind him, one of the card-playing does says, Duddits was how we defined ourselves. Duddits was our finest hour. To which the other replies, You think so? And Jonesy realizes the docs are Henry and Pete.

He turns toward them, and it seems he's not disembodied after all, because he catches a ghost of his reflection in the window looking into the operating room. He is not Jonesy anymore. Not human anymore. His skin is gray and his eyes are black bulbs staring out of his noseless face. He has become one of them, one of the—

One of the grayboys, he thinks. That's what they call us, the grayboys. Some of them call us the space-niggers.

He opens his mouth to say some of this, or perhaps to ask his old friends to help him — they have always helped each other, if they could — but then the film jumps again (goddam that editor, drinking on the job) and he's in bed, a hospital bed in a hospital room, and someone is calling Where's Jonesy, I want Jonesy.

There, he thinks with wretched satisfaction, I always knew it was Jonesy, not Marcy. That's death calling, or maybe Death, and I must be very quiet if I'm to avoid him, he missed me in the crowd, made a grab for me in the ambulance and missed again, and now here he is in the hospital, masquerading as a patient.

Please stop, crafty old Mr Death groans in that hideous coax­ing monotone, I can't stand it, give me a shot, where's Jonesy, I want Jonesy.

I'Il just lie here until he stops, Jonesy thinks, I can't get up anyway, just had two pounds of metal put in my hip and it'll be days until I'm able to get up, maybe a week.

But to his horror he realizes he is getting up, throwing the covers aside and getting out of bed, and although he can feel the sutures in his hip and across his belly straining and breaking open, spilling what is undoubtedly donated blood down his leg and into his pubic hair, soaking it, he walks across the room without a limp, through a patch of sunlight that casts a brief but very human shadow on the floor (not a grayboy now, there is that to be grateful for, at least, because the grayboys are toast), and to the door. He strolls unseen down a corridor, past a parked gumey with a bedpan on it, past a pair of laughing, talking nurses who are looking at photographs, passing them from hand to hand, and toward that droning voice. He is helpless to ,top and understands that he is in the cloud. Not a redblack cloud, as both Pete and Henry sensed it, however; the cloud is gray and he floats within it, a unique particle that is not changed by the cloud, and Jonesy thinks: I'm what they were looking for, I don't know how it can be, but I am just what they were looking for. Because . . . the cloud doesn't change me?

Yes, sort of

He passes three open doors. The fourth is closed. On it is a sign which reads COME IN, THERE IS NO INFECTION HERE, IL N'Y A PAS D'INFECTION ICI.

You lie, Jonesy thinks. Cruise or Curtis or whatever his name is may be a madman, but he's right about one thing: there is infection.

Blood is pouring down his legs, the bottom half of his johnny is now a bright scarlet (the claret has really begun to flow, the old boxing announcers used to say), but he feels no pain. Nor does he fear infection. He is unique and the cloud can only carry him, not change him. He opens the door and goes inside.

Is he surprised to see the gray man with the big black eyes lying in the hospital bed? Not even a little bit. When Jonesy turned and discovered this guy standing behind him back at Hole in the Wall, the sucker's head exploded. That was, all things considered, one hell of an Excedrin headache. It would put anyone in the hospital. The guy's head looks okay now, though; modem medicine is wonderful.

The room is crepitant with fungus, florid with red-gold growth. It's growing on the floor, the windowsill, the slats of the venetian blinds; it has bleared its way across the surface of the overhead light fixture and the glucose bottle (Jonesy assumes it's glucose) on the stand by the bed; little reddish-gold beards dangle from the bathroom doorknob and the crank at the foot of the bed.

As Jonesy approaches the gray thing with the sheet pulled up to its narrow hairless chest, he sees there is a single get-well card on the bedtable. FEEL BETTER SOON! is printed above a cartoon picture of a sad-looking turtle with a Band-Aid on its shell. And below the picture: FROM STEVEN SPIELBERG AND ALL YOUR PALS IN HOLLYWOOD.

This is a dream, full of a dream's tropes and in-jokes, Jonesy thinks, but he knows better. His mind is mixing things, pureeing them, making them easier to swallow, and that is the way of dreams; past, present, and future have all been stirred together, which is also like dreams, but he knows that he'd be wrong to dismiss this as nothing but a fractured fairy-tale from his subconscious. At least some of it is happening.

The bulbous black eyes are watching him. And now the sheet stirs and humps up beside the thing in the bed. What emerges from beneath it is the reddish weasel-thing that got the Beav. It is staring at him with those same glassy black eyes as it propels itself with its tail up the pillow, where it curls itself next to that narrow gray head. It was no wonder McCarthy felt a little indisposed, Jonesy thinks.

Blood continues to pour down Jonesy's legs, sticky as honey and hot as fever. It patters on to the floor and you'd think it would soon be sprouting its own colony of that reddish mold or fungus or whatever it is, a regular jungle of it, but Jonesy knows better. He is unique. The cloud can carry him, but it cannot change him.

No bounce no play, he thinks, and then, immediately: Shhh, shhh, keep that to yourself

The gray creature raises its hand in a kind of weary greeting. On it are three long fingers ending in rosy-pink nails. Thick yellow pus is oozing from beneath them. More of this stuff gleams loosely in the folds of the guy's skin, and from the comers of his — its? — eyes.

You're right, you do need a shot, Jonesy says. Maybe a little Drano or Lysol, something like that. Put you out of your mi—

A terrible thought occurs to him then; for a moment it's so strong he is unable to resist the force moving him toward the bed. Then his feet begin to move again, leaving big red tracks behind him.

You're not going to drink my blood, are you? Like a vampire?

The thing in the bed smiles without smiling. We are, so far as can express it in your terms, vegetarians.

Yeah, but what about Bowser there? Jonesy points to the legless weasel, and it bares a mouthful of needle teeth in a grotesque grin. Is Bowser a vegetarian?

You know he's not, the gray thing says, its slit of a mouth not moving — this guy is one hell of a ventriloquist, you had to give him that; they'd love him in the Catskills. But you know you have nothing to fear from him.

Why? How am I different?

The dying gray thing (of course it's dying, its body is breaking down, decaying from the inside out) doesn't reply, and Jonesy once again thinks No bounce, no play. He has an idea this is one thought the gray fellow would dearly love to read, but no chance of that; the ability to shield his thoughts is another part of what makes him different, unique, and vive la difference is all Jonesy can say (not that he does say it).

How am I different?

Who is Duddits? the gray thing asks, and when Jonesy doesn't answer, the thing once more smiles without moving its mouth. There, the gray thing says. We both have questions the other will not answer. Let's put them aside, shall we? Facedown. They are . . . what do you call it? What do you call it in the game?

The crib, Jonesy says. Now he can smell the thing's decay. It's the smell McCarthy brought into camp with him, the smell of ether-spray. He thinks again that he should have shot the oh-gosh oh-dear son of a bitch, shot him before he could get in where it was warm. Left the colony inside him to die beneath the deer-stand in the old maple as the body grew cold.

The crib, yes, the gray thing says. The dreamcatcher is now in here, suspended from the ceiling and spinning slowly above the gray thing's head. These things we each don't want the other to know, we'll set them aside to count later. We'll put them in the crib.

What do you want from me?

The gray creature gazes at Jonesy unblinkingly. So far as Jonesy can tell, it can't blink; it has neither lids nor lashes.

Nyther lids nor lashes, it says, only it's Pete's voice Jonesy hears. Always nyther, never neether. who's Duddits?

And Jonesy is so surprised to hear Pete's voice that he almost by-God tells him . . . which, of course, was the intention: to surprise it out of him. This thing is crafty, dying or not. He would do well to be on his guard. He sends the gray fellow a picture of a big brown cow with a sign around its neck. The sign reads DUDDITS THE COW.

Again the gray fellow smiles without smiling, smiles inside Jonesy's head. Duddits the cow, it says. I think not

Where are you from? Jonesy asks.

Planet X. We come from a dying planet to eat Domino's Pizza, buy on easy credit terms, and learn Italian the easy Berlitz way. Henry's voice this time. Then Mr ET-Phone-Home reverts to its own voice . . . except, Jonesy realizes with a weary lack of surprise, its voice is his voice, Jonesy's voice. And he knows what Henry would say: that he's having one whopper of a hallucination in the wake of Beaver's death.

Not anymore, he wouldn't, Jonesy thinks. Not anymore. Now he's the eggman, and the eggman knows better.

Henry? He'll be dead soon, the gray fellow says indifferently. Its hand steals across the counterpane; the trio of long gray fingers enfolds Jonesy's hand. Its skin is warm and dry.

What do you mean? Jonesy asks, afraid for Henry . . . but the dying thing in the bed doesn't answer. It's another card for the crib, so Jonesy plays another one from his hand: Why did you call me here?

The gray creature expresses surprise, although its face still doesn't move. No one wants to die alone, it says. I just want someone to be with. I know, we'll watch television.

I don't want—

There's a movie I particularly want to see. You'll enjoy it, too. It's called Sympathy for the Grayboys. Bowser! The remote!

Bowser favors Jonesy with what seems a particularly ill-natured look, then slithers off the pillow, its flexing tail making a dry rasp like a snake crawling over a rock. On the table is a TV remote, also overgrown with fungus. Bowser seizes it, turns, and slithers back to the gray creature with the remote held in its teeth. The gray thing releases Jonesy's hand (its touch is not repulsive, but the release is still something of a relief), takes the controller, points it at the TV, and pushes the ON button. The picture that appears — blurred slightly but not hidden by the light fuzz growing on the glass — is of the shed behind the cabin. In the center of the screen is a shape hidden by a green tarp. And even before the door opens and he sees himself come in, Jonesy understands that this has already happened. The star of Sympathy for the Grayboys is Gary Jones.

Well, the dying creature in the bed says from its comfortable spot in the center of his brain, we missed the credits, but really, the movie's just starting.

That's what Jonesy's afraid of.

The shed door opens and Jonesy comes in. Quite the motley fellow he is, dressed in his own coat, Beaver's gloves, and one of Lamar's old orange hats. For a moment the Jonesy watching in the hospital room (he has pulled up the visitor's chair and is sitting by Mr Gray's bed) thinks that the Jonesy in the snowmobile shed at Hole in the Wall has been infected after all, and that red moss is growing all over him. Then he remembers that Mr Gray exploded right in front of him — his head did, anyway — and Jonesy is wearing the remains.

Only you didn't explode, he says. You . . . you what? Went to seed?

Shhh! says Mr Gray, and Bowser bares its formidable headful of teeth, as if to tell Jonesy to stop being so impolite. I love this song, don't you?

The soundtrack is the Rolling Stones' 'Sympathy for the Devil,' fitting enough since this is almost the name of the movie (my screen debut, Jonesy thinks, wait'll Carla and the kids see it), but in fact Jonesy doesn't love it, it makes him sad for some reason.

How can you love it? he asks, ignoring Bowser's bared teeth ­Bowser is no danger to him, and both of them know it, How can you? It's what they were playing when they slaughtered you.

They always slaughter us, Mr Gray says. Now be quiet, watch the movie, this part is slow but it gets a lot better.

Jonesy folds his hands in his red lap — the bleeding seems to have stopped, at least — and watches Sympathy for the Grayboys, starring the one and only Gary Jones.

The one and only Gary Jones pulls the tarp off the snowmobile, spots the battery sitting on the worktable in a cardboard box, and puts it in, being careful to clamp the cables to the correct terminals. This pretty well exhausts his store of mechanical knowledge — he's a history teacher, not a mechanic, and his idea of home improvement is making the kids watch the History Channel once in a while instead of Xena. The key is in the ignition, and the dashboard lights come on when he turns the key — got the battery right, anyway — but the engine doesn't start. Doesn't even crank. The starter makes a tut-tutting sound and that's all.

'Oh dear oh gosh dadrattit number two,' he says, running them all together in a monotone. He isn't sure he could manifest much in the way of emotion now even if he really wanted to. He's a horror-movie fan, has seen Invasion of the Body Snatchers two dozen times (he has even seen the wretched remake, the one with Donald Sutherland in it), and he knows what's going on here. His body has been snatched, most righteously and completely snatched. Although there will be no army of zombies, not even a townful. He is unique. He senses that Pete, Henry, and the Beav are also unique (was unique, in the Beav's case), but he is the most unique of all. You're not supposed to be able to say that — like the cheese belonging to the Farmer in the Dell, unique supposedly stands alone — but this is a rare case where that rule doesn't apply. Pete and Beaver were unique, Henry is uniquer, and he, Jonesy, is uniquest. Look, he's even starring in his own movie! How unique is that, as his oldest son would say.

The gray fellow in the hospital bed looks from the TV where Jonesy I is sitting astride the Arctic Cat to the chair where Jonesy II sits in his blood-sodden johnny.

What are you hiding? Mr Gray asks.

Nothing.

Why do you keep seeing a brick wall? What is 19, besides a prime number? Who said 'Fuck the Tigers'? What does that mean? What is the brick wall? When is the brick wall? What does it mean, why do you keep seeing it?

He can feel Mr Gray prying at him, but for the time being that one kernel is safe. He can be carried, but not changed. Not entirely opened, either, it seems. Not yet, at least.

Jonesy puts his finger to his lips and gives the gray fellow's own words back to him: Be quiet, watch the movie.

It studies him with the black bulbs of its eyes (they are insectile, Jonesy thinks, the eyes of a praying mantis), and Jonesy can feel it prying for a moment or two longer. Then the sensation fades. There is no hurry; sooner or later it will dissolve the shell over that last kernel of pure uninvaded Jonesy, and then it will know everything it wants to know.

In the meantime, they watch the movie. And when Bowser crawls into Jonesy's lap — Bowser with his sharp teeth and his ethery antifreeze smell — Jonesy barely notices.

Jonesy I, Shed Jonesy (only that one's now actually Mr Gray), reaches out. There are many minds to reach out to, they are hopping all over each other like late-night radio transmissions, and he finds one with the information he needs easily enough. It's like opening a file on your personal computer and finding a wonderfully detailed 3-D movie instead of words.

Mr Gray's source is Emil 'Dawg' Brodsky, from Menlo Park, New Jersey. Brodsky is an Army Tech Sergeant, a motor-pool munchkin. Only here, as part of Kurtz's Tactical Response Team, Tech Sergeant Brodsky has no rank. No one else does, either. He calls his superiors boss and those who rank below him (there are not many of those at this particular barbecue) hey you. If he doesn't know which is which, pal or buddy will do.

There are jets overlying the area, but not many (they'll be able to get all the pix they need from low earth orbit if the clouds ever clear), and they are not Brodsky's job, anyway. The jets fly out of the Air National Guard base in Bangor, and he is here in Jefferson Tract. Brodsky's job is the choppers and the trucks in the rapidly growing motor-pool (since noon, all the roads in this part of the state have been closed and the only traffic is olive-green trucks with their insignia masked), He's also in charge of setting up at least four generators to provide the electricity needed to serve the compound growing around Gosselin's Market. These needs include motion sensors, Pole lights, perimeter lights, and the makeshift operating theatre which is being hastily equipped in a Windstar motor home.

Kurtz has made it clear that the lights are a big deal — he wants this place as bright as day all night long. The greatest number of pole lights is going up around the barn and what used to be a horse corral and paddock behind the barn. In the field where old Reggie Gosselin's forty milkers once grazed away their days, two tents have been erected. The larger has a sign on its green roof: COMMISSARY. The other tent is white and unmarked. There are no kerosene heaters in it, as there are in the larger tent, and no need of them. This is the temporary morgue, Jonesy understands. There are only three bodies in there now (one is a banker who tried to run away, foolish man), but soon there may be lots more. Unless there's an accident that makes collecting bodies difficult or impossible. For Kurtz, the boss, such an accident would solve all sorts of problems.

And all that is by the way. Jonesy I's Job is Emil Brodsky of Menlo Park.

Brodsky is striding rapidly across the snowy, muddy, churned-up ground between the helicopter landing zone and the paddock where the Ripley-positives are to be kept (there are already a good number of them in there, walking around with the bewildered expressions of freshly interned prisoners the world over, calling out to the guards, asking for cigarettes and information and making vain threats). Emil Brodsky is squat and crewcut, with a bulldog face that looks made for cheap cigars (in fact, Jonesy knows, Brodsky is a devout Catholic who has never smoked). He's as busy as a one-armed paperhanger just now. He's got earphones on and a receptionist's mike hung in front of his lips. He is in radio contact with the fuel-supply convoy coming up I-95 — those guys are critical, because the helicopters out on mission are going to come back low — but he's also talking to Cambry, who is walking next to him, about the control-and-surveillance center Kurtz wants set up by nine P.m., midnight at the latest. This mission is going to be over in forty-eight hours at the outside, that's the scuttlebutt, but who the fuck knows for sure? According to the scuttlebutt, their prime target, Blue Boy, has already been taken out, but Brodsky doesn't know how anyone can be sure of that, since the big assault choppers haven't come back yet. And anyhow, their 'ob here is simple: turn the whole works up to eleven and then yank the knobs off.

And ye gods, all at once there are three Jonesys: the one watching TV in the fungus-crawling hospital room, the one in the snowmobile shed . . . and Jonesy III, who suddenly appears in Emil Brodsky's crewcut Catholic head. Brodsky stops walking and simply looks up into the white sky.

Cambry walks on three or four steps by himself before realizing that Dawg has stopped cold, is just standing there in the middle of the muddy cow pasture. In the midst of all this frantic bustle — running men, hovering helicopters, revving engines — he's standing there like a robot with a dead battery.

'Boss?' Cambry asks. 'Everything all right?'

Brodsky makes no reply . . . at least not to Cambry, he doesn't. To Jonesy I - Shed Jonesy - he says: Open the engine cowling and show me the plugs.

Jonesy has some trouble finding the catch that opens the cowling, but Brodsky directs him. Then Jonesy leans over the small engine, not looking for himself but turning his eyes into a pair of high-res cameras and sending the picture back to Brodsky.

'Boss?' Cambry asks with increasing concern. 'Boss, what is it? What's wrong?'

Date: 2015-12-17; view: 483