by Stephen King
Jack knows the name of this precise shade of blue due to an extended consideration of color samples undertaken in the company of Claire Evinrude, M.D., an oncologist of lovely and brisk dispatch, during the period when they were planning to repaint their then-shared bungalow in the Hollywood Hills. Claire, Dr. Evinrude, had marked this color for the master bedroom; he, recently returned from a big-deal, absurdly selective VICAP course of instruction at Quantico, Virginia, and newly promoted to the rank of lieutenant, had dismissed it as, um, well, maybe a little cold.
Jack, have you ever seen an actual robin’s egg? Dr. Evinrude inquired. Do you have any idea how beautiful they are? Dr. Evinrude’s gray eyes enlarged as she grasped her mental scalpel.
Jack inserts two fingers into the egg receptacle and lifts from it the small, egg-shaped object the color of a robin’s egg. What do you know, this is a robin’s egg. An “actual,” in the words of Dr. Claire Evinrude, robin’s egg, hatched from the body of a robin, sometimes called a robin redbreast. He deposits the egg in the palm of his left hand. There it sits, this pale blue oblate the size of a pecan. The capacity for thought seems to have left him. What the hell did he do, buy a robin’s egg? Sorry, no, this relationship isn’t working, the opopanax is out of whack, Roy’s Store doesn’t sell robin’s eggs, I’m gone.
Slowly, stiffly, awkward as a zombie, Jack progresses across the kitchen floor and reaches the sink. He extends his left hand over the maw at the sink’s center and releases the robin’s egg. Down into the garbage disposal it drops, irretrievably. His right hand switches the machine into action, with the usual noisy results. Growl, grind, snarl, a monster is enjoying a nice little snack. Grrr. The live electrical wire shudders within him, shedding sparks as it twitches, but he has become zombiefied and barely registers the internal shocks. All in all, taking everything into consideration, what Jack Sawyer feels most like doing at this moment . . .
When the red, red . . .
For some reason, he has not called his mother in a long, long while. He cannot think why he has not, and it is about time he did. Robin me no red robins. The voice of Lily Cavanaugh Sawyer, the Queen of the B’s, once his only companion in a rapture-flooded, transcendent, rigorously forgotten New Hampshire hotel room, is precisely the voice Jack needs to hear right about now. Lily Cavanaugh is the one person in the world to whom he can spill the ridiculous mess in which he finds himself. Despite the dim, unwelcome awareness of trespassing beyond the borders of strict rationality and therefore bringing further into question his own uncertain sanity, he moves down the kitchen counter, picks up his cell phone, and punches in the number of the nice residential property on Roxbury Drive, Beverly Hills, California.
The telephone in his old house rings five times, six times, seven. A man picks up and, in an angry, slightly drunken, sleep-distorted voice, says, “Kimberley . . . whatever the hell this is about . . . for your sake . . . I hope it’s really, really important.”
Jack hits END and snaps his phone shut. Oh God oh hell oh damn. It is just past five A.M. in Beverly Hills, or Westwood, or Hancock Park, or wherever that number now reaches. He forgot his mother was dead. Oh hell oh damn oh God, can you beat that?
Jack’s grief, which has been sharpening itself underground, once again rises up to stab him, as if for the first time, bang, dead-center in the heart. At the same time the idea that even for a second he could have forgotten that his mother was dead strikes him, God knows why, as hugely and irresistibly funny. How ridiculous can you get? The goofy stick has whapped him on the back of the head, and without knowing if he is going to burst into sobs or shouts of laughter, Jack experiences a brief wave of dizziness and leans heavily against the kitchen counter.
Jive-ass turkey, he remembers his mother saying. Lily had been describing her late husband’s recently deceased partner in the days after her suspicious accountants discovered that the partner, Morgan Sloat, had been diverting into his own pockets three-fourths of the income from Sawyer & Sloat’s astonishingly vast real estate holdings. Every year since Phil Sawyer’s death in a so-called hunting accident, Sloat had stolen millions of dollars, many millions, from his late partner’s family. Lily diverted the flow back into the proper channels and sold half the company to its new partners, in the process guaranteeing her son a tremendous financial bonanza, not to mention the annual bonanza that produces the interest Jack’s private foundation funnels off to noble causes. Lily had called Sloat things far more colorful than jive-ass turkey, but that is the term her voice utters in his inner ear.
Way back in May, Jack tells himself, he probably came across that robin’s egg on an absentminded stroll through the meadow and put it in the refrigerator for safekeeping. To keep it safe. Because, after all, it was of a delicate shade of blue, a beautiful blue, to quote Dr. Evinrude. So long had he kept it safe that he’d forgotten all about it. Which, he gratefully recognizes, is why the waking dream presented him with an explosion of red feathers!
Everything happens for a reason, concealed though the reason may be; loosen up and relax long enough to stop being a jive-ass turkey, and the reason might come out of hiding.
Jack bends over the sink and, for the sake of refreshment internal and external, immerses his face in a double handful of cold water. For the moment, the cleansing shock washes away the ruined breakfast, the ridiculous telephone call, and the corrosive image flashes. It is time to strap on his skates and get going. In twenty-five minutes, Jack Sawyer’s best friend and only confidant will, with his customary aura of rotary perception, emerge through the front door of KDCU-AM’s cinder-block building and, applying his golden lighter’s flame to the tip of a cigarette, glide down the walkway to Peninsula Drive. Should rotary perception inform him that Jack Sawyer’s pickup awaits, Henry Leyden will unerringly locate the handle and climb in. This exhibition of blind-man cool is too dazzling to miss.
And miss it he does not, for in spite of the morning’s difficulties, which from the balanced, mature perspective granted by his journey through the lovely countryside eventually seem trivial, Jack’s pickup pulls in front of the Peninsula Drive end of KDCU-AM’s walkway at 7:55, a good five minutes before his friend is to stroll out into the sunlight. Henry will be good for him: just the sight of Henry will be like a dose of soul tonic. Surely Jack cannot be the first man (or woman) in the history of the world who momentarily lost his (or her) grip under stress and kind of halfway forgot that his (or her) mother had shuffled off the old mortal coil and departed for a higher sphere. Stressed-out mortals turned naturally to their mothers for comfort and reassurance. The impulse is coded into our DNA. When he hears the story, Henry will chuckle and advise him to tighten his wig.
On second thought, why cloud Henry’s sky with a story so absurd? The same applies to the robin’s egg, especially since Jack has not spoken to Henry about his waking dream of a feather eruption, and he does not feel like getting involved in a lot of pointless backtracking. Live in the present; let the past stretch out in its grave; keep your chin high and walk around the mud puddles. Don’t look to your friends for therapy.
He switches on the radio and hits the button for KWLA-FM, the UW–La Riviere station, home to both the Wisconsin Rat and Henry the Sheik the Shake the Shook. What pours glittering from the cab’s hidden speakers raises the hairs on his arms: Glenn Gould, inner eye luminously open, blazing through something by Bach, he could not say exactly what. But Glenn Gould, but Bach, for sure. One of the Partitas, maybe.
A CD jewel box in one hand, Henry Leyden strolls through the humble doorway at the side of the station, enters the sunlight, and without hesitation begins to glide down the flagged walkway, the rubber soles of his Hershey-brown suede loafers striking the center of each successive flagstone.
Henry . . . Henry is a vision.
Today, Jack observes, Henry comes attired in one of his Malaysian teak forest owner ensembles, a handsome collarless shirt, shimmering braces, and an heirloom straw fedora creased to a fare-thee-well. Had Jack not been so welc
omed into Henry’s life, he would not have known that his friend’s capacity for flawless wardrobe assemblage depended upon the profound organization of his enormous walk-in closet long ago established by Rhoda Gilbertson Leyden, Henry’s deceased wife: Rhoda had arranged every article of her husband’s clothing by season, style, and color. Item by item, Henry memorized the entire system. Although blind since birth, therefore incapable of distinguishing between matching and mismatching shades, Henry never errs.
Henry extracts from his shirt pocket a gold lighter and a yellow pack of American Spirits, fires up, exhales a radiant cloud brightened by sunlight to the color of milk, and continues his unwavering progress down the flagstones.
The pink, back-slanting capitals of TROY LUVS MARYANN! YES! sprayed across the sign on the bare lawn suggest that 1) Troy spends a lot of time listening to KDCU-AM, and 2) Maryann loves him back. Good for Troy, good for Maryann. Jack applauds love’s announcement, even in pink spray paint, and wishes the lovers happiness and good fortune. It occurs to him that if at this present stage of his existence he could be said to love anyone, that person would have to be Henry Leyden. Not in the sense that Troy luvs Maryann, or vice versa, but he luvs him all the same, a matter that has never been as clear as it is this moment.
Henry traverses the last of the flagstones and approaches the curb. A single stride brings him to the door of the pickup; his hand closes on the recessed metal bar; he opens the door, steps up, and slides in. His head tilts, cocking his right ear to the music. The dark lenses of his aviator glasses shine.
“How can you do that?” Jack asked. “This time, the music helped, but you don’t need music.”
“I can do that because I am totally, totally bitchrod,” Henry says. “I learned that lovely word from our pothead intern, Morris Rosen, who kindly applied it to me. Morris thinks I am God, but he must have something on the ball, because he figured out that George Rathbun and the Wisconsin Rat are one and the same. I hope the kid keeps his mouth shut.”
“I do, too,” Jack says, “but I’m not going to let you change the subject. How can you always open the door right away? How do you find the handle without groping for it?”
Henry sighs. “The handle tells me where it is. Obviously. All I have to do is listen to it.”
“The door handle makes a sound?”
“Not like your high-tech radio and The Goldberg Variations, no. More like a vibration. The sound of a sound. The sound inside a sound. Isn’t Daniel Barenboim a great piano player? Man, listen to that—every note, a different coloration. Makes you want to kiss the lid of his Steinway, baby. Imagine the muscles in his hands.”
“That’s Barenboim?”
“Well, who else could it be?” Slowly, Henry turns his head to Jack. An irritating smile raises the corners of his mouth. “Ah. I see, yes. Knowing you as I do, you poor schmuck, I see you imagined you were listening to Glenn Gould.”
“I did not,” Jack says.
“Please.”
“Maybe for a minute I wondered if it was Gould, but—”
“Don’t, don’t, don’t. Don’t even try. Your voice gives you away. There’s a little, whiny topspin on every word; it’s so pathetic. Are we going to drive back to Norway Valley, or would you like to sit here and keep lying to me? I want to tell you something on the way home.”
He holds up the CD. “Let’s put you out of your misery. The pothead gave this to me—Dirtysperm doing an old Supremes ditty. Me, I loathe that sort of thing, but it might be perfect for the Wisconsin Rat. Cue up track seven.”
The pianist no longer sounds anything like Glenn Gould, and the music seems to have slowed to half its former velocity. Jack puts himself out of his misery and inserts the CD into the opening beneath the radio. He pushes a button, then another. At an insanely fast tempo, the screeches of madmen subjected to unspeakable tortures come blasting out of the speakers. Jack rocks backward into the seat, jolted. “My God, Henry,” he says, and reaches for the volume control.
“Don’t dare touch that dial,” Henry says. “If this crap doesn’t make your ears bleed, it isn’t doing its job.”
“Ears,” Jack knows, is jazz-speak for the capacity to hear what is going on in music as it unfurls across the air. A musician with good ears soon memorizes the songs and arrangements he is asked to play, picks up or already knows the harmonic movement underlying the theme, and follows the transformations and substitutions to that pattern introduced by his fellow musicians. Whether or not he can accurately read notes written on a staff, a musician with great ears learns melodies and arrangements the first time he hears them, grasps harmonic intricacies through flawless intuition, and immediately identifies the notes and key signatures registered by taxi horns, elevator bells, and mewing cats. Such people inhabit a world defined by the particularities of individual sounds, and Henry Leyden is one of them. As far as Jack is concerned, Henry’s ears are Olympian, in a class by themselves.
It was Henry’s ears that gave him access to Jack’s great secret, the role his mother, Lily Cavanaugh Sawyer, “Lily Cavanaugh,” had occupied in life, and he is the only person ever to discover it. Shortly after Dale introduced them, Jack and Henry Leyden entered into an easy, companionable friendship surprising to both. Each the answer to the other’s loneliness, they spent two or three nights of every week having dinner together, listening to music, and talking about whatever came into their well-stocked minds. Either Jack drove down the road to Henry’s eccentric house, or he picked Henry up and drove him back to his place. After something like six or seven months, Jack wondered if his friend might enjoy spending an hour or so listening to him read aloud from books agreed upon by both parties. Henry replied, Ivey-divey, my man, what a beautiful idea. How about starting with some whacked-out crime novels? They began with Chester Himes and Charles Willeford, changed gear with a batch of contemporary novels, floated through S. J. Perelman and James Thurber, and ventured emboldened into fictional mansions erected by Ford Madox Ford and Vladimir Nabokov. (Marcel Proust lies somewhere ahead, they understand, but Proust can wait; at present they are to embark upon Bleak House.)
One night after Jack had finished the evening’s installment of Ford’s The Good Soldier, Henry cleared his throat and said, Dale said you told him your parents were in the entertainment industry. In show business.
—That’s right.
—I don’t want to pry, but would you mind if I asked you some questions? If you feel like answering, just say yes or no.
Already alarmed, Jack said, What’s this about, Henry?
—I want to see if I’m right about something.
—Okay. Ask.
—Thank you. Were your parents in different aspects of the industry?
—Um.
—Was one of them in the business end of things, and the other a performer?
—Um.
—Was your mother an actress?
—Uh-huh.
—A famous actress, in a way. She never really got the respect she deserved, but she made a ton of movies all through the fifties and into the mid-sixties, and at the end of her career she won an Oscar for Best Supporting Actress.
—Henry, Jack said. Where did you—
—Clam up. I intend to relish this moment. Your mother was Lily Cavanaugh. That’s wonderful. Lily Cavanaugh was always so much more talented than most people gave her credit for. Every time out, she brought those roles she played, those girls, those tough little waitresses and dames with guns in their handbags, up to a new level. Beautiful, smart, gutsy, no pretensions, just lock in and inhabit the part. She was about a hundred times better than anyone else around her.
—Henry . . .
—Some of those movies had nice sound tracks, too. Lost Summer, Johnny Mandel? Out of sight.
—Henry, how did—
—You told me; how else could I know? These little things your voice does, that’s how. You slide over the tops of your r’s, and you hit the rest of your consonants in a kind of cadence, and that cadence r
uns through your sentences.
—A cadence?
—Bet your ass, junior. An underlying rhythm, like your own personal drummer. All through The Good Soldier I kept trying to remember where I’d heard it before. Faded in, faded back out. A couple of days ago, I nailed it. Lily Cavanaugh. You can’t me blame for wanting to see if I was right, can you?
—Blame you? Jack said. I’m too stunned to blame anybody, but give me a couple of minutes.
—Your secret’s safe. When people see you, you don’t want their first thought to be, Hey, there’s Lily Cavanaugh’s son. Makes sense to me.
Henry Leyden has great ears, all right.
As the pickup rolls through French Landing the din filling the cab makes conversation impossible. Dirtysperm is burning a hole through the marzipan center of “Where Did Our Love Go” and in the process committing hideous atrocities upon those cute little Supremes. Henry, who claims to loathe this kind of thing, slouches in his seat, knees up on the dash, hands steepled below his chin, grinning with pleasure. The shops on Chase Street have opened for business, and half a dozen cars jut at an angle from parking spaces.
Four boys astride bicycles swerve off the sidewalk before Schmitt’s Allsorts and into the road twenty feet in front of the moving pickup. Jack hits his brakes; the boys come to an abrupt halt and line up side by side, waiting for him to pass. Jack trolls forward. Henry straightens up, checks his mysterious sensors, and drops back into position. All is well with Henry. The boys, however, do not know what to make of the uproar growing ever louder as the pickup approaches. They stare at Jack’s windshield in bafflement tinged with distaste, the way their great-grandfathers once stared at the Siamese twins and the Alligator Man in the freak show at the back of the fairground. Everybody knows that the drivers of pickup trucks listen to only two kinds of music, heavy metal or country, so what’s with this creep?
As Jack drives past the boys, the first, a scowling heavyweight with the inflamed face of a schoolyard bully, displays an upraised second finger. The next two continue the imitations of their great-grandfathers having a hot night out in 1921 and gape, idiotically, mouths slack and open. The fourth boy, whose dark blond hair beneath a Brewers cap, bright eyes, and general air of innocence make him the nicest-looking of the group, gazes directly into Jack’s face and gives him a sweet, tentative smile. This is Tyler Marshall, out for a spin—though he is completely unaware of it—into no-man’s-land.
