The Drawing of the Three by Stephen King
"Okay," George Biondi was saying, "here's an easy one, Henry. Henry? You there, Henry? Earth to Henry, Earth people need you. Come in, Henry. I say again: come in, H--"
"I'm here, I'm here," Henry said. His voice was the slurry, muddy voice of a man who is still asleep telling his wife he's awake so she'll leave him alone for another five minutes.
"Okay. The category is Arts and Entertainment. The question is . . . Henry? Don't you fuckin nod off on me, asshole!"
"I'm not!" Henry cried back querulously.
"Okay. The question is, 'What enormously popular novel by William Peter Blatty, set in the posh Washington D.C. suburb of Georgetown, concerned the demonic possession of a young girl?' "
"Johnny Cash," Henry replied.
"Jesus Christ!" Tricks Postino yelled. "That's what you say to everythin! Johnny Cash, that's what you say to fuckin everythin!"
"Johnny Cash is everything," Henry replied gravely, and there was a moment of silence palpable in its considering surprise . . . then a gravelly burst of laughter not just from the men in the room with Henry but the two other "gentlemen" sitting in the storage room.
"You want me to shut the door, Mr. Balazar?" 'Cimi asked quietly.
"No, that's fine," Balazar said. He was second-generation Sicilian, but there was no trace of accent in his speech, nor was it the speech of a man whose only education had been in the streets. Unlike many of his contemporaries in the business, he had finished high school. Had in fact done more: for two years he had gone to business school--NYU. His voice, like his business methods, was quiet and cultured and American, and this made his physical aspect as deceiving as Jack Andolini's. People hearing his clear, unaccented American voice for the first time almost always looked dazed, as if hearing a particularly good piece of ventriloquism. He looked like a farmer or innkeeper or small-time mafioso who had been successful more by virtue of being at the right place at the right time than because of any brains. He looked like what the wiseguys of a previous generation had called a "Mustache Pete." He was a fat man who dressed like a peasant. This evening he wore a plain white cotton shirt open at the throat (there were spreading sweat-stains beneath the arms) and plain gray twill pants. On his fat sockless feet were brown loafers, so old they were more like slippers than shoes. Blue and purple varicose veins squirmed on his ankles.
'Cimi and Claudio watched him, fascinated.
In the old days they called him Il Roche--The Rock. Some of the old-timers still did. Always in the right-hand top drawer of his desk, where other businessmen might keep pads, pens, paper-clips, things of that sort, Enrico Balazar kept three decks of cards. He did not play games with them, however.
He built with them.
He would take two cards and lean them against each other, making an A without the horizontal stroke. Next to it he would make another A-shape. Over the top of the two he would lay a single card, making a roof. He would make A after A, overlaying each, until his desk supported a house of cards. You bent over and looked in, you saw something that looked like a hive of triangles. 'Cimi had seen these houses fall over hundreds of times (Claudio had also seen it happen from time to time, but not so frequently, because he was thirty years younger than 'Cimi, who expected to soon retire with his bitch of a wife to a farm they owned in northern New Jersey, where he would devote all his time to his garden . . . and to outliving the bitch he had married; not his mother-in-law, he had long since given up any wistful notion he might once have had of eating fettucini at the wake of La Monstra, La Monstra was eternal, but for outliving the bitch there was at least some hope; his father had had a saying which, when translated, meant something like "God pisses down the back of your neck every day but only drowns you once," and while 'Cimi wasn't completely sure he thought it meant God was a pretty good guy after all, and so he could only hope to outlive the one if not the other), but had only seen Balazar put out of temper by such a fall on a single occasion. Mostly it was something errant that did it--someone closing a door hard in another room, or a drunk stumbling against a wall; there had been times when 'Cimi saw an edifice Mr. Balazar (whom he still called Da Boss, like a character in a Chester Gould comic strip) had spent hours building fall down because the bass on the juke was too loud. Other times these airy constructs fell down for no perceptible reason at all. Once--this was a story he had told at least five thousand times, and one of which every person he knew (with the exception of himself) had tired--Da Boss had looked up at him from the ruins and said: "You see this 'Cimi? For every mother who ever cursed God for her child dead in the road, for every father who ever cursed the man who sent him away from the factory with no job, for every child who was ever born to pain and asked why, this is the answer. Our lives are like these things I build. Sometimes they fall down for a reason, sometimes they fall down for no reason at all."
Carlocimi Dretto thought this the most profound statement of the human condition he had ever heard.
That one time Balazar had been put out of temper by the collapse of one of his structures had been twelve, maybe fourteen years ago. There was a guy who came in to see him about booze. A guy with no class, no manners. A guy who smelled like he took a bath once a year whether he needed it or not. A mick, in other words. And of course it was booze. With micks it was always booze, never dope. And this mick, he thought what was on Da Boss's desk was a joke. "Make a wish!" he yelled after Da Boss had explained to him, in the way one gentleman explains to another, why it was impossible for them to do business. And then the Mick, one of those guys with curly red hair and a complexion so white he looked like he had TB or something, one of those guys whose names started with O and then had that little curly mark between the O and the real name, had blown on Da Boss's desk, like a nino blowing out the candles on a birthday cake, and cards flew everywhere around Balazar's head, and Balazar had opened the left top drawer in his desk, the drawer where other businessmen might keep their personal stationery or their private memos or something like that, and he had brought out a .45, and he had shot the Mick in the head, and Balazar's expression never changed, and after 'Cimi and a guy named Truman Alexander who had died of a heart attack four years ago had buried the Mick under a chickenhouse somewhere outside of Sedonville, Connecticut, Balazar had said to 'Cimi, "It's up to men to build things, paisan. It's up to God to blow them down. You agree?"
"Yes, Mr. Balazar," 'Cimi had said. He did agree.
Balazar had nodded, pleased. "You did like I said? You put him someplace where chickens or ducks or something like that could shit on him?"
"Yes."
"That's very good," Balazar said calmly, and took a fresh deck of cards from the right top drawer of his desk.
One level was not enough for Balazar, Il Roche. Upon the roof of the first level he would build a second, only not quite so wide; on top of the second a third; on top of the third a fourth. He would go on, but after the fourth level he would have to stand to do so. You no longer had to bend much to look in, and when you did what you saw wasn't rows of triangle shapes but a fragile, bewildering, and impossibly lovely hall of diamond-shapes. You looked in too long, you felt dizzy. Once 'Cimi had gone in the Mirror Maze at Coney and he had felt like that. He had never gone in again.
'Cimi said (he believed no one believed him; the truth was no one cared one way or the other) he had once seen Balazar build something which was no longer a house of cards but a tower of cards, one which stood nine levels high before it collapsed. That no one gave a shit about this was something 'Cimi didn't know because everyone he told affected amazement because he was close to Da Boss. But they would have been amazed if he had had the words to describe it--how delicate it had been, how it reached almost three quarters of the way from the top of the desk to the ceiling, a lacy construct of jacks and deuces and kings and tens and Big Akers, a red and black configuration of paper diamonds standing in defiance of a world spinning through a universe of incoherent motions and forces; a tower that seemed to 'Cimi's amazed eyes to be a ringing denia
If he had known how, he would have said: I looked at what he built, and to me it explained the stars.
10
Balazar knew how everything would have to be.
The Feds had smelled Eddie--maybe he had been stupid to send Eddie in the first place, maybe his instincts were failing him, but Eddie had seemed somehow so right, so perfect. His uncle, the first man he had worked for in the business, said there were exceptions to every rule but one: Never trust a junkie. Balazar had said nothing--it was not the place of a boy of fifteen to speak, even if only to agree--but privately had thought the only rule to which there was no exception was that there were some rules for which that was not true.
But if Tio Verone were alive today, Balazar thought, he would laugh at you and say look, Rico, you always were too smart for your own good, you knew the rules, you kept your mouth shut when it was respectful to keep it shut, but you always had that snot look in your eyes. You always knew too much about how smart you were, and so you finally fell into the pit of your own pride, just like I always knew you would.
He made an A shape and overlaid it.
They had taken Eddie and held him awhile and then let him go.
Balazar had grabbed Eddie's brother and the stash they shared. That would be enough to bring him . . . and he wanted Eddie.
He wanted Eddie because it had only been two hours, and two hours was wrong.
They had questioned him at Kennedy, not at 43rd Street, and that was wrong, too. That meant Eddie had succeeded in ditching most or all of the coke.
Or had he?
He thought. He wondered.
Eddie had walked out of Kennedy two hours after they took him off the plane. That was too short a time for them to have sweated it out of him and too long for them to have decided he was clean, that some stew had made a rash mistake.
He thought. He wondered.
Eddie's brother was a zombie, but Eddie was still smart, Eddie was still tough. He wouldn't have turned in just two hours . . . unless it was his brother. Something about his brother.
But still, how come no 43rd Street? How come no Customs van, the ones that looked like Post Office trucks except for the wire grilles on the back windows? Because Eddie really had done something with the goods? Ditched them? Hidden them?
Impossible to hide goods on an airplane.
Impossible to ditch them.
Of course it was also impossible to escape from certain prisons, rob certain banks, beat certain raps. But people did. Harry Houdini had escaped from straitjackets, locked trunks, fucking bank vaults. But Eddie Dean was no Houdini.
Was he?
He could have had Henry killed in the apartment, could have had Eddie cut down on the L.I.E. or, better yet, also in the apartment, where it would look to the cops like a couple of junkies who got desperate enough to forget they were brothers and killed each other. But it would leave too many questions unanswered.
He would get the answers here, prepare for the future or merely satisfy his curiosity, depending on what the answers were, and then kill both of them.
A few more answers, two less junkies. Some gain and no great loss.
In the other room, the game had gotten around to Henry again. "Okay, Henry," George Biondi said. "Be careful, because this one is tricky. The category is Geography. The question is, 'What is the only continent where kangaroos are a native form of life?' "
A hushed pause.
"Johnny Cash," Henry said, and this was followed by a bull-throated roar of laughter.
The walls shook.
'Cimi tensed, waiting for Balazar's house of cards (which would become a tower only if God, or the blind forces that ran the universe in His name, willed it), to fall down.
The cards trembled a bit. If one fell, all would fall.
None did.
Balazar looked up and smiled at 'Cimi. "Piasan," he said. "Il Dio est bono; il Dio est malo; temps est poco-poco; tu est une grande peeparollo."
'Cimi smiled. "Si, senor," he said. "Io grande peeparollo; Io va fanculo por tu."
"None va fanculo, catzarro," Balazar said. "Eddie Dean va fanculo." He smiled gently, and began on the second level of his tower of cards.
11
When the van pulled to the curb near Balazar's place, Col Vincent happened to be looking at Eddie. He saw something impossible. He tried to speak and found himself unable. His tongue was stuck to the roof of his mouth and all he could get out was a muffled grunt.
He saw Eddie's eyes change from brown to blue.
12
This time Roland made no conscious decision to come forward. He simply leaped without thinking, a movement as involuntary as rolling out of a chair and going for his guns when someone burst into a room.
The Tower! he thought fiercely. It's the Tower, my God, the Tower is in the sky, the Tower! I see the Tower in the sky, drawn in lines of red fire! Cuthbert! Alan! Desmond! The Tower! The T--
But this time he felt Eddie struggling--not against him, but trying to talk to him, trying desperately to explain something to him.
The gunslinger retreated, listening--listening desperately, as above a beach some unknown distance away in space and time, his mindless body twitched and trembled like the body of a man experiencing a dream of highest ecstasy or deepest horror.
13
Sign! Eddie was screaming into his own head . . . and into the head of that other.
It's a sign, just a neon sign, I don't know what tower it is you're thinking about but this is just a bar, Balazar's place, The Leaning Tower, he named it that after the one in Pisa! It's just a sign that's supposed to look like the fucking Leaning Tower of Pisa! Let up! Let up! You want to get us killed before we have a chance to go at them?
Pitsa? the gunslinger replied doubtfully, and looked again.
A sign. Yes, all right, he could see now: it was not the Tower, but a Signpost. It leaned to one side, and there were many scalloped curves, and it was a marvel, but that was all. He could see now that the sign was a thing made of tubes, tubes which had somehow been filled with glowing red swamp-fire. In some places there seemed to be less of it than others; in those places the lines of fire pulsed and buzzed.
He now saw letters below the tower which had been made of shaped tubes; most of them were Great Letters. TOWER he could read, and yes, LEANING. LEANING TOWER. The first word was three letters, the first T, the last E, the middle one which he had never seen.
Tre? he asked Eddie.
THE. It doesn't matter. Do you see it's just a sign? That's what matters!
I see, the gunslinger answered, wondering if the prisoner really believed what he was saying or was only saying it to keep the situation from spilling over as the tower depicted in those lines of fire seemed about to do, wondering if Eddie believed any sign could be a trivial thing.
Then ease off! Do you hear me? Ease off!
Be cool? Roland asked, and both felt Roland smile a little in Eddie's mind.
Be cool, right. Let me handle things.
Yes. All right. He would let Eddie handle things.
For awhile.
14
Col Vincent finally managed to get his tongue off the roof of his mouth. "Jack." His voice was as thick as shag carpet.
Andolini turned off the motor and looked at him, irritated.
"His eyes."
"What about his eyes?"
"Yeah, what about my eyes?" Eddie asked.
Col looked at him.
The sun had gone down, leaving nothing in the air but the day's ashes, but there was light enough for Col to see that Eddie's eyes were brown again.
If they had ever been anything else.
You saw it, part of his mind insisted, but had he? Col was twenty-four, and for the last twenty-one of those years no one had really believed him trustworthy. Useful sometimes. Obedient almost always . . . if kept on a short leash. Trustworthy? No. Col had eventually come to believe it himself.
"Nothing
"Then let's go," Andolini said.
They got out of the pizza van. With Andolini on their left and Vincent on their right, Eddie and the gunslinger walked into The Leaning Tower.
CHAPTER 5
Showdown and Shoot-Out
1
In a blues tune from the twenties Billie Holiday, who would one day discover the truth for herself, sang: "Doctor tole me daughter you got to quit it fast/Because one more rocket gonna be your last." Henry Dean's last rocket went up just five minutes before the van pulled up in front of The Leaning Tower and his brother was herded inside.
Because he was on Henry's right, George Biondi--known to his friends as "Big George" and to his enemies as "Big Nose"--asked Henry's questions. Now, as Henry sat nodding and blinking owlishly over the board, Tricks Postino put the die in a hand which had already gone the dusty color that results in the extremities after long-term heroin addiction, the dusty color which is the precursor of gangrene.
"Your turn, Henry," Tricks said, and Henry let the die fall from his hand.
When he went on staring into space and showed no intention of moving his game piece, Jimmy Haspio moved it for him. "Look at this, Henry," he said. "You got a chance to score a piece of the pie."
"Reese's Pieces," Henry said dreamily, and then looked around, as if awakening. "Where's Eddie?"
"He'll be here pretty soon," Tricks soothed him. "Just play the game."
"How about a fix?"
"Play the game, Henry."