Skeleton Crew

by Stephen King

  Not long after the flaming death of the bird-thing, Ollie and I had gone back out to the storage area and had gathered up half a dozen of the pads such as the one I'd covered Billy with earlier. Several people were sleeping on these. We had also brought back several heavy crates of oranges and pears, and four of us working together had been able to swing them to the tops of the lawn-food bags in front of the hole in the glass. The bird-creatures would have a tough time shifting one of those crates; they weighed about ninety pounds each.

  But the birds and the buglike things the birds ate weren't the only things out there. There was the tentacled thing that had taken Norm. There was the frayed clothesline to think about. There was the unseen thing that had uttered that low, guttural roar to think about. We had heard sounds like it since--sometimes quite distant--but how far was "distant" through the damping effect of the mist? And sometimes they were close enough to shake the building and make it seem as if the ventricles of your heart had suddenly been loaded up with ice water.

  Billy started in my lap and moaned. I brushed his hair and he moaned more loudly. Then he seemed to find sleep's less dangerous waters again. My own doze was broken and I was staring wide awake again. Since dark, I had only managed to sleep about ninety minutes, and that had been dream-haunted. In one of the dream fragments it had been the night before again. Billy and Steffy were standing in front of the picture window, looking out at the black and slate-gray waters, out at the silver spinning waterspout that heralded the storm. I tried to get to them, knowing that a strong enough wind could break the window and throw deadly glass darts all the way across the living room. But no matter how I ran, I seemed to get no closer to them. And then a bird rose out of the waterspout, a gigantic scarlet oiseau de mort whose prehistoric wingspan darkened the entire lake from west to east. Its beak opened, revealing a maw the size of the Holland Tunnel. And as the bird came to gobble up my wife and son, a low, sinister voice began to whisper over and over again: The Arrowhead Project ... the Arrowhead Project ... the Arrowhead Project ...

  Not that Billy and I were the only ones sleeping poorly. Others screamed in their sleep, and some went on screaming after they woke up. The beer was disappearing from the cooler at a great rate. Buddy Eagleton had restocked it once from out back with no comment. Mike Hatlen told me the Sominex was gone. Not depleted but totally wiped out. He guessed that some people might have taken six or eight bottles.

  "There's some Nytol left," he said. "You want a bottle, David?" I shook my head and thanked him.

  And in the last aisle down by Register 5, we had our winos. There were about seven of them, all out-of-staters except for Lou Tattinger, who ran the Pine Tree Car Wash. Lou didn't need any excuse to sniff the cork, as the saying was. The wino brigade was pretty well anesthetized.

  Oh yes--there were also six or seven people who had gone crazy.

  Crazy isn't the best word; perhaps I just can't think of the proper one. But there were these people who had lapsed into a complete stupor without benefit of beer, wine, or pills. They stared at you with blank and shiny doorknob eyes. The hard cement of reality had come apart in some unimaginable earthquake, and these poor devils had fallen through. In time, some of them might come back. If there was time.

  The rest of us had made our own mental compromises, and in some cases I suppose they were fairly odd. Mrs. Reppler, for instance, was convinced the whole thing was a dream--or so she said. And she spoke with some conviction.

  I looked over at Amanda. I was developing an uncomfortably strong feeling for her--uncomfortable but not exactly unpleasant. Her eyes were an incredible, brilliant green ... for a while I had kept an eye on her to see if she was going to take out a pair of contact lenses, but apparently the color was true. I wanted to make love to her. My wife was at home, maybe alive, more probably dead, alone either way, and I loved her; I wanted to get Billy and me back to her more than anything, but I also wanted to screw this lady named Amanda Dumfries. I tried to tell myself it was just the situation we were in, and maybe it was, but that didn't change the wanting.

  I dozed in and out, then jerked awake more fully around three. Amanda had shifted into a sort of fetal position, her knees pulled up toward her chest, hands clasped between her thighs. She seemed to be sleeping deeply. Her sweatshirt had pulled up slightly on one side, showing clean white skin. I looked at it and began to get an extremely useless and uncomfortable erection.

  I tried to divert my mind to a new track and got thinking about how I had wanted to paint Brent Norton yesterday. No, nothing as important as a painting, but ... just sit him on a log with my beer in his hand and sketch his sweaty, tired face and the two wings of his carefully processed hair sticking up untidily in the back. It could have been a good picture. It took me twenty years of living with my father to accept the idea that being good could be good enough.

  You know what talent is? The curse of expectation. As a kid you have to deal with that, beat it somehow. If you can write, you think God put you on earth to blow Shakespeare away. Of if you can paint, maybe you think--I did--that God put you on earth to blow your father away.

  It turned out I wasn't as good as he was. I kept trying to be for longer than I should have, maybe. I had a show in New York and it did poorly--the art critics beat me over the head with my father. A year later I was supporting myself and Steff with the commercial stuff. She was pregnant and I sat down and talked to myself about it. The result of that conversation was a belief that serious art was always going to be a hobby for me, no more.

  I did Golden Girl Shampoo ads--the one where the Girl is standing astride her bike, the one where she's playing Frisbee on the beach, the one where she's standing on the balcony of her apartment with a drink in her hand. I've done short-story illustrations for most of the big slicks, but I broke into that field doing fast illustrations for the stories in the sleazier men's magazines. I've done some movie posters. The money comes in. We keep our heads nicely above water.

  I had one final show in Bridgton, just last summer. I showed nine canvases that I had painted in five years, and I sold six of them. The one I absolutely would not sell showed the Federal market, by some queer coincidence. The perspective was from the far end of the parking lot. In my picture, the parking lot was empty except for a line of Campbell's Beans and Franks cans, each one larger than the last as they marched toward the viewer's eye. The last one appeared to be about eight feet tall. The picture was titled Beans and False Perspective. A man from California who was a top exec in some company that makes tennis balls and rackets and who knows what other sports equipment seemed to want that picture very badly, and would not take no for an answer in spite of the NFS card tucked into the bottom left-hand comer of the spare wooden frame. He began at six hundred dollars and worked his way up to four thousand. He said he wanted it for his study. I would not let him have it, and he went away sorely puzzled. Even so, he didn't quite give up; he left his card in case I changed my mind.

  I could have used the money--that was the year we put the addition on the house and bought the four-wheel-drive--but I just couldn't sell it. I couldn't sell it because I felt it was the best painting I had ever done and I wanted it to look at after someone would ask me, with totally unconscious cruelty, when I was going to do something serious.

  Then I happened to show it to Ollie Weeks one day last fall. He asked me if he could photograph it and run it as an ad one week, and that was the end of my own false perspective. Ollie had recognized my painting for what it was, and by doing so, he forced me to recognize it, too. A perfectly good piece of slick commercial art. No more. And, thank God, no less.

  I let him do it, and then I called the exec at his home in San Luis Obispo and told him he could have the painting for twenty-five hundred if he still wanted it. He did, and I shipped it UPS to the coast. And since then that voice of disappointed expectation--that cheated child's voice that can never be satisfied with such a mild superlative as good--has fallen pretty much silent. And except for
a few rumbles--like the sounds of those unseen creatures somewhere out in the foggy night--it has been pretty much silent ever since. Maybe you can tell me--why should the silencing of that childish, demanding voice seem so much like dying?

  Around four o'clock Billy woke up--partially, at least--and looked around with bleary, uncomprehending eyes. "Are we still here?"

  "Yeah, honey," I said. "We are."

  He started to cry with a weak helplessness that was horrible. Amanda woke up and looked at us.

  "Hey, kid," she said, and pulled him gently to her. "Everything is going to look a little better come morning."

  "No," Billy said. "No it won't. It won't. It won't."

  "Shh," she said. Her eyes met mine over his head. "Shh, it's past your bedtime."

  "I want my mother!"

  "Yeah, you do," Amanda said. "Of course you do."

  Billy squirmed around in her lap until he could look at me. Which he did for some time. And then slept again.

  "Thanks," I said. "He needed you."

  "He doesn't even know me."

  "That doesn't change it."

  "So what do you think?" she asked. Her green eyes held mine steadily. "What do you really think?"

  "Ask me in the morning."

  "I'm asking you now."

  I opened my mouth to answer and then Ollie Weeks materialized out of the gloom like something from a horror tale. He had a flashlight with one of the ladies' blouses over the lens, and he was pointing it toward the ceiling. It made strange shadows on his haggard face. "David," he whispered.

  Amanda looked at him, first startled, then scared again.

  "Ollie, what is it?" I asked.

  "David," he whispered again. Then: "Come on. Please."

  "I don't want to leave Billy. He just went to sleep."

  "I'll be with him," Amanda said. "You better go." Then, in a lower voice: "Jesus, this is never going to end. "

  VIII. What Happened to the Soldiers. With Amanda. A Conversation with Dan Miller.

  I went with Ollie. He was headed for the storage area. As we passed the cooler, he grabbed a beer.

  "Ollie, what is it?"

  "I want you to see it."

  He pushed through the double doors. They slipped shut behind us with a little backwash of air. It was cold. I didn't like this place, not after what had happened to Norm. A part of my mind insisted on reminding me that there was still a small scrap of dead tentacle lying around someplace.

  Ollie let the blouse drop from the lens of his light. He trained it overhead. At first I had an idea that someone had hung a couple of mannequins from one of the heating pipes below the ceiling. That they had hung them on piano wire or something, a kid's Halloween trick.

  Then I noticed the feet, dangling about seven inches off the cement floor. There were two piles of kicked-over cartons. I looked up at the faces and a scream began to rise in my throat because they were not the faces of department-store dummies. Both heads were cocked to the side, as if appreciating some horribly funny joke, a joke that had made them laugh until they turned purple.

  Their shadows. Their shadows thrown long on the wall behind them. Their tongues. Their protruding tongues.

  They were both wearing uniforms. They were the kids I had noticed earlier and had lost track of along the way. The army brats from--

  The scream. I could hear it starting in my throat as a moan, rising like a police siren, and then Ollie gripped my arm just above the elbow. "Don't scream, David. No one knows about this but you and me. And that's how I want to keep it."

  Somehow I bit it back.

  "Those army kids," I managed.

  "From the Arrowhead Project," Ollie said. "Sure." Something cold was thrust into my hand. The beer can. "Drink this. You need it."

  I drained the can completely dry.

  Ollie said, "I came back to see if we had any extra cartridges for that gas grill Mr. McVey has been using. I saw these guys. The way I figure, they must have gotten the nooses ready and stood on top of those two piles of cartons. They must have tied their hands for each other and then balanced each other while they stepped through the length of rope between their wrists. So ... so that their hands would be behind them, you know. Then--this is the way I figure--they stuck their heads into the nooses and pulled them tight by jerking their heads to one side. Maybe one of them counted to three and they jumped together. I don't know."

  "It couldn't be done," I said through a dry mouth. But their hands were tied behind them, all right. I couldn't seem to take my eyes away from that.

  "It could. If they wanted to bad enough, David, they could."

  "But why?"

  "I think you know why. Not any of the tourists, the summer people--like that guy Miller--but there are people from around here who could make a pretty decent guess."

  "The Arrowhead Project?"

  Ollie said, "I stand by one of those registers all day long and I hear a lot. All this spring I've been hearing things about that damned Arrowhead thing, none of it good. The black ice on the lakes--"

  I thought of Bill Giosti leaning in my window, blowing warm alcohol in my face. Not just atoms, but different atoms. Now these bodies hanging from that overhead pipe. The cocked heads. The dangling shoes. The tongues protruding like summer sausages.

  I realized with fresh horror that new doors of perception were opening up inside. New? Not so. Old doors of perception. The perception of a child who has not yet learned to protect itself by developing the tunnel vision that keeps out ninety percent of the universe. Children see everything their eyes happen upon, hear everything in their ears' range. But if life is the rise of consciousness (as a crewel-work sampler my wife made in high school proclaims), then it is also the reduction of input.

  Terror is the widening of perspective and perception. The horror was in knowing I was swimming down to a place most of us leave when we get out of diapers and into training pants. I could see it on Ollie's face, too. When rationality begins to break down, the circuits of the human brain can overload. Axons grow bright and feverish. Hallucinations turn real: the quicksilver puddle at the point where perspective makes parallel lines seem to intersect is really there; the dead walk and talk; a rose begins to sing.

  "I've heard stuff from maybe two dozen people," Ollie said. "Justine Robards. Nick Tochai. Ben Michaelson. You can't keep secrets in small towns. Things get out. Sometimes it's like a spring--it just bubbles up out of the earth and no one has an idea where it came from. You overhear something at the library and pass it on, or at the marina in Harrison, Christ knows where else, or why. But all spring and summer I've been hearing Arrowhead Project, Arrowhead Project."

  "But these two," I said. "Christ, Ollie, they're just kids."

  "There were kids in Nam who used to take ears. I was there. I saw it."

  "But ... what would drive them to do this?"

  "I don't know. Maybe they knew something. Maybe they only suspected. They must have known people in here would start asking them questions eventually. If there is an eventually. "

  "If you're right," I said, "it must be something really bad."

  "That storm," Ollie said in his soft, level voice. "Maybe it knocked something loose up there. Maybe there was an accident. They could have been fooling around with anything. Some people claim they were messing with high-intensity lasers and masers. Sometimes I hear fusion power. And suppose ... suppose they ripped a hole straight through into another dimension?"

  "That's hogwash," I said.

  "Are they?" Ollie asked, and pointed at the bodies.

  "No. The question now is: What do we do?"

  "I think we ought to cut them down and hide them," he said promptly. "Put them under a pile of stuff people won't want--dog food, dish detergent, stuff like that. If this gets out, it will only make things worse. That's why I came to you, David. I felt you are the only one I could really trust."

  I muttered, "It's like the Nazi war criminals killing themselves in their cells after the war was lo
st."

  "Yeah. I had that same thought."

  We fell silent, and suddenly those soft shuffling noises began outside the steel loading door again--the sound of the tentacles feeling softly across it. We drew together. My flesh was crawling.

  "Okay," I said.

  "We'll make it as quick as we can," Ollie said. His sapphire ring glowed mutely as he moved his flashlight. "I want to get out of here fast."

  I looked up at the ropes. They had used the same sort of clothesline the man in the golf cap had allowed me to tie around his waist. The nooses had sunk into the puffed flesh of their necks, and I wondered again what it could have been to make both of them go through with it. I knew what Ollie meant by saying that if the news of the double suicide got out, it would make things worse. For me it already had--and I wouldn't have believed that possible.

  There was a snicking sound. Ollie had opened his knife, a good heavy job made for slitting open cartons. And, of course, cutting rope.

  "You or me?" he asked.

  I swallowed. "One each."

  We did it.

  When I got back, Amanda was gone and Mrs. Turman was with Billy. They were both sleeping. I walked down one of the aisles and a voice said: "Mr. Drayton. David. It was Amanda, standing by the stairs to the manager's office, her eyes like emeralds. "What was it?"

  "Nothing," I said.

  She came over to me. I could smell faint perfume. And oh how I wanted her. "You liar," she said.

  "It was nothing. A false alarm."

  "If that's how you want it." She took my hand. "I've just been up to the office. It's empty and there's a lock on the door." Her face was perfectly calm, but her eyes were lambent, almost feral, and a pulse beat steadily in her throat.

  "I don't--"

  "I saw the way you looked at me," she said. "If we need to talk about it, it's no good. The Turman woman is with your son."

  "Yes." It came to me that this was a way--maybe not the best one, but a way, nevertheless--to take the curse off what Ollie and I had just done. Not the best way, just the only way.