Skeleton Crew by Stephen King
This had raised the terrible specter of the woman, discorporeal but somehow still sentient, screaming in limbo ... forever. Michaelson was convicted and executed.
In addition, Summers suggested, the Jaunt had been used by various tinpot dictators to get rid of political dissidents and political adversaries; some thought that the Mafia had their own illegal Jaunt-Stations, tied into the central Jaunt computer through their CIA connections. It was suggested that the Mafia used the Jaunt's Nil capability to get rid of bodies which, unlike that of the unfortunate Mrs. Michaelson, were already dead. Seen in that light, the Jaunt became the ultimate Jimmy Hoffa machine, ever so much better than the local gravel pit or quarry.
All of this had led to Summers's conclusions and theories about the Jaunt; and that, of course, led back to Patty's persistent question about the mice.
"Well," Mark said slowly, as his wife signaled with her eyes for him to be careful, "even now no one really knows, Patty. But all the experiments with animals--including the mice--seemed to lead to the conclusion that while the Jaunt is almost instantaneous physically, it takes a long, long time mentally."
"I don't get it," Patty said glumly. "I knew I wouldn't."
But Ricky was looking at his father thoughtfully. "They went on thinking," he said. "The test animals. And so would we, if we didn't get knocked out."
"Yes," Mark said. "That's what we believe now."
Something was dawning in Ricky's eyes. Fright? Excitement? "It isn't just teleportation, is it, Dad? It's some kind of time-warp." .
It's eternity in there, Mark thought.
"In a way," he said. "But that's a comic-book phrase--it sounds good but doesn't really mean anything, Rick. It seems to revolve around the idea of consciousness, and the fact that consciousness doesn't particulate--it remains whole and constant. It also retains some screwy sense of time. But we don't know how pure consciousness would measure time, or even if that concept has any meaning to pure mind. We can't even conceive what pure mind might be. "
Mark fell silent, troubled by his son's eyes, which were suddenly so sharp and curious. He understands but he doesn't understand, Mark thought. Your mind can be your best friend; it can keep you amused even when there's nothing to read, nothing to do. But it can turn on you when it's left with no input for too long. It can turn on you, which means that it turns on itself, savages itself, perhaps consumes itself in an unthinkable act of auto-cannibalism. How long in there, in terms of years? 0.000000000067 seconds for the body to Jaunt, but how long for the unparticulated consciousness? A hundred years? A thousand? A million? A billion? How long alone with your thoughts in an endless field of white? And then, when a billion eternities have passed, the crashing return of light and form and body. Who wouldn't go insane?
"Ricky--" he began, but the Jaunt attendants had arrived with their cart.
"Are you ready?" one asked.
Mark nodded.
"Daddy, I'm scared," Patty said in a thin voice. "Will it hurt?"
"No, honey, of course it won't hurt," Mark said, and his voice was calm enough, but his heart was beating a little fast--it always did, although this would be something like his twenty-fifth Jaunt. "I'll go first and you'll see how easy it is."
The Jaunt attendant looked at him questioningly. Mark nodded and made a smile. The mask descended. Mark took it in his own hands and breathed deep of the dark.
The first thing he became aware of was the hard black Martian sky as seen through the top of the dome which surrounded Whitehead City. It was night here, and the stars sprawled with a fiery brilliance undreamed of on earth..
The second thing he became aware of was some sort of disturbance in the recovery room--mutters, then shouts, then a shrill scream. Oh dear God, that's Marilys! he thought, and struggled up from his Jaunt couch, fighting the waves of dizziness.
There was another scream, and he saw Jaunt attendants running toward their couches, their bright red jumpers flying around their knees. Marilys staggered toward him, pointing. She screamed again and then collapsed on the floor, sending an unoccupied Jaunt couch rolling slowly down the aisle with one weakly clutching hand.
But Mark had already followed the direction of her pointing finger. He had seen. It hadn't been fright in Ricky's eyes; it had been excitement. He should have known, because he knew Ricky--Ricky, who had fallen out of the highest crotch of the tree in their backyard in Schenectady when he was only seven, who had broken his arm (and was lucky that had been all he'd broken); Ricky who dared to go faster and further on his Slideboard than any other kid in the neighborhood; Ricky who was first to take any dare. Ricky and fear were not well acquainted.
Until now.
Beside Ricky, his sister still mercifully slept. The thing that had been his son bounced and writhed on its Jaunt couch, a twelve-year-old boy with a snow-white fall of hair and eyes which were incredibly ancient, the corneas gone a sickly yellow. Here was a creature older than time masquerading as a boy; and yet it bounced and writhed with a kind of horrid, obscene glee, and at its choked, lunatic cackles the Jaunt attendants drew back in terror. Some of them fled, although they had been trained to cope with just such an unthinkable eventuality.
The old-young legs twitched and quivered. Claw hands beat and twisted and danced on the air; abruptly they descended and the thing that had been his son began to claw at its face.
"Longer than you think, Dad!" it cackled. "Longer than you think! Held my breath when they gave me the gas! Wanted to see! I saw! I saw! Longer than you think!"
Cackling and screeching, the thing on the Jaunt couch suddenly clawed its own eyes out. Blood gouted. The recovery room was an aviary of screaming voices now.
"Longer than you think, Dad! I saw! I saw! Long Jaunt! Longer than you think--"
It said other things before the Jaunt attendants were finally able to bear it away, rolling its couch swiftly away as it screamed and clawed at the eyes that had seen the unseeable forever and ever; it said other things, and then it began to scream, but Mark Oates didn't hear it because by then he was screaming himself.
The Wedding Gig
In the year 1927 we were playing jazz in a speak-easy just south of Morgan, Illinois, a town seventy miles from Chicago. It was real hick country, not another big town for twenty miles in any direction. But there were a lot of farmboys with a hankering for something stronger than Moxie after a hot day in the field, and a lot of would-be jazz-babies out stepping with their drugstore-cowboy boyfriends. There were also some married men (you always know them, friend; they might as well be wearing signs) coming far out of their way to be where no one would recognize them while they cut a rug with their not-quite-legit lassies.
That was when jazz was jazz, not noise. We had a five-man combination--drums, comet, trombone, piano, trumpet--and we were pretty good. That was still three years before we made our first record and four years before talkies.
We were playing "Bamboo Bay" when this big fellow walked in, wearing a white suit and smoking a pipe with more squiggles in it than a French horn. The whole band was a little tight by that time but everyone in the crowd was absolutely blind and really ramping the joint. They were in a good mood, though; there hadn't been a single fight all night. All of us guys were sweating rivers and Tommy Englander, the guy who ran the place, kept sending up rye as smooth as a varnished plank. Englander was a good joe to work for, and he liked our sound. Of course that made him aces in my book.
The guy in the white suit sat down at the bar and I forgot him. We finished up the set with "Aunt Hagar's Blues," which was a tune that passed for racy out in the boondocks back then, and got a good round of applause. Manny had a big grin on his face when he put his trumpet down, and I clapped him on the back as we left the bandstand. There was a lonely-looking girl in a green evening gown who had been giving me the eye all night. She was a redhead, and I've always been partial to those. I got a signal from her eyes and the tilt of her head, so I started weaving through the crowd to see if she wanted a dr
I was halfway there when the man in the white suit stepped in front of me. Up close he looked like a pretty tough egg. His hair was bristling up in the back in spite of what smelled like a whole bottle of Wildroot Creme Oil and he had the flat, oddly shiny eyes that some deep-sea fish have.
"Want to talk to you outside," he said.
The redhead looked away with a small pout.
"It can wait," I said. "Let me by."
"My name is Scollay. Mike Scollay."
I knew the name. Mike Scollay was a small-time racketeer from Shytown who paid for his beer and skittles by running booze in from Canada. The high-tension stuff that started out where the men wear skirts and play bagpipes. When they aren't tending the vats, that is. His picture had been in the paper a few times. The last time had been when some other dancehall Dan tried to gun him down.
"You're pretty far from Chicago, my friend," I said.
"I brought some chaperones," he said, "don't worry. Outside."
The redhead took another look. I pointed at Scollay and shrugged. She sniffed and turned her back.
"There," I said. "You queered that."
"Bimbos like that are a penny a bushel in Chi," he said.
"I didn't want a bushel."
"Outside."
I followed him out. The air was cool on my skin after the smoky atmosphere of the club, sweet with fresh-cut alfalfa. The stars were out, soft and flickering. The hoods were out, too, but they didn't look soft, and the only things flickering were their cigarettes.
"I got a job for you," Scollay said.
"Is that so."
"Pays two C's. Split it with the band or hold back a hundred for yourself."
"What is it?"
"A gig, what else? My sis is tying the knot. I want you to play for the reception. She likes Dixieland. Two of my boys say you play good Dixieland."
I told you Englander was good to work for. He was paying us eighty bucks a week. This guy was offering over twice that for one gig.
"It's from five to eight, next Friday," Scollay said. "At the Sons of Erin Hall on Grover Street."
"It's too much," I said. "How come?"
"There's two reasons," Scollay said. He puffed on his pipe. It looked out of place in the middle of that yegg's face. He should have had a Lucky Strike Green dangling from that mouth, or maybe a Sweet Caporal. The Cigarette of Bums. With the pipe he didn't look like a bum. The pipe made him look sad and funny.
"Two reasons," he repeated. "Maybe you heard the Greek tried to rub me out."
"I saw your picture in the paper," I said. "You were the guy trying to crawl into the sidewalk. "
"Smart guy," he growled, but with no real force. "I'm getting too big for him. The Greek is getting old. He thinks small. He ought to be back in the old country, drinking olive oil and looking at the Pacific."
"I think it's the Aegean," I said.
"I don't give a tin shit if it's Lake Huron," he said. "Point is, he don't want to be old. He still wants to get me. He don't know the coming thing when he sees it."
"That's you."
"You're fucking-A."
"In other words, you're paying two C's because our last number might be arranged for Enfield rifle accompaniment."
Anger flashed in his face, but there was something else there, as well. I didn't know what it was then, but I think I do now. I think it was sorrow. "Buddy Gee, I got the best protection money can buy. If anyone funny sticks his nose in, he won't get a chance to sniff twice."
"What's the other thing?"
He spoke softly. "My sister's marrying an Italian."
"A good Catholic like you," I sneered softly.
The anger flashed again, white-hot, and for a minute I thought I'd pushed him too far. "A good mick! A good old shanty-Irish mick, sonny, and you better not forget it!" To that he added, almost too low to be heard, "Even if I did lose most of my hair, it was red."
I started to say something, but he didn't give me the chance. He swung me around and pressed his face down until our noses almost touched. I have never seen such anger and humiliation and rage and determination in a man's face. You never see that look on a white face these days, how it is to be hurt and made to feel small. All that love and hate. But I saw it on his face that night and knew I could crack wise a few more times and get my ass killed.
"She's fat," he half-whispered, and I could smell checker-berry mints on his breath. "A lot of people have been laughing at me while my back was turned. They don't do it when I can see them, though, I'll tell you that, Mr. Comet Player. Because maybe this dago was all she could get. But you're not gonna laugh at me or her or the dago. And nobody else is, either. Because you're gonna play too loud. No one is going to laugh at my sis."
"We never laugh when we play our gigs. Makes it too hard to pucker."
That relieved the tension. He laughed--a short, barking laugh. "You be there, ready to play at five. The Sons of Erin on Grover Street. I'll pay your expenses both ways, too."
He wasn't asking. I felt railroaded into the decision, but he wasn't giving me time to talk it over. He was already striding away, and one of his chaperones was holding open the back door of a Packard coupe.
They drove away. I stayed out awhile longer and had a smoke. The evening was soft and fine and Scollay seemed more and more like something I might have dreamed. I was just wishing we could bring the bandstand out to the parking lot and play when Biff tapped me on the shoulder.
"Time," he said.
"Okay."
We went back in. The redhead had picked up some salt-and-pepper sailor who looked twice her age. I don't know what a member of the U.S. Navy was doing in Illinois, but as far as I was concerned, she could have him if her taste was that bad. I didn't feel so good. The rye had gone to my head, and Scollay seemed a lot more real in here, where the fumes of what he and his kind sold were strong enough to float on.
"We had a request for 'Camptown Races,' " Charlie said.
"Forget it," I said curtly. "We don't play that nigger stuff till after midnight."
I could see Billy-Boy stiffen as he was sitting down to the piano, and then his face was smooth again. I could have kicked myself around the block, but, goddammit, a man can't shift gears on his mouth overnight, or in a year, or maybe even in ten. In those days nigger was a word I hated and kept saying.
I went over to him. "I'm sorry, Bill--I haven't been myself tonight."
"Sure," he said, but his eyes looked over my shoulder and I knew my apology wasn't accepted. That was bad, but I'll tell you what was worse--knowing he was disappointed in me.
I told them about the gig during our next break, being square with them about the money and how Scollay was a hoodlum (although I didn't tell them about the other hood who was out to get him). I also told them that Scollay's sister was fat and Scollay was sensitive about it. Anyone who cracked any jokes about inland barges might wind up with a third breather-hole, somewhat above the other two.
I kept looking at Billy-Boy Williams while I talked, but you could read nothing on the cat's face. It would be easier trying to figure out what a walnut was thinking by reading the wrinkles on the shell. Billy-Boy was the best piano player we ever had, and we were all sorry about the little ways it got taken out on him as we traveled from one place to another. In the south was the worst, of course--Jim Crow car, nigger heaven at the movies, stuff like that--but it wasn't that great in the north, either. But what could I do? Huh? You go on and tell me. In those days you lived with those differences.
We turned up at the Sons of Erin Hall on Friday at four o'clock, an hour before. We drove up in the special Ford truck Biff and Manny and me put together. The back end was all enclosed with canvas, and there were two cots bolted on the floor. We even had an electric hotplate that ran off the battery, and the band's name was painted on the outside.
The day was just right--a ham-and-egger if you ever saw one, with little white summer clouds casting shadows on the fields. But once we got into th
The Sons of Erin was a big wooden building, affiliated with the church where Scollay's sis was getting married. You know the sort of place I mean if you ever took the Wafer, I guess--CYO meetings on Tuesdays, bingo on Wednesdays, and a sociable for the kids on Saturday nights.
We trooped up the walk, each of us carrying his instrument in one hand and some part of Biff's drum-kit in the other. A thin lady with no breastworks to speak of was directing traffic inside. Two sweating men were hanging crepe paper. There was a bandstand at the front of the hall, and over it was a banner and a couple of big pink paper wedding bells. The tinsel lettering on the banner said BEST ALWAYS MAUREEN AND RICO.
Maureen and Rico. Damned if I couldn't see why Scollay was so wound up. Maureen and Rico. Stone the crows.
The thin lady swooped down on us. She looked like she had a lot to say so I beat her to punch. "We're the band," I said.
"The band?" She blinked at our instruments distrustfully. "Oh. I was hoping you were the caterers."
I smiled as if caterers always carried snare drums and trombone cases.
"You can--" she began, but just then a ruff-tuff-creampuff of about nineteen strolled over. A cigarette was dangling from the comer of his mouth, but so far as I could see it wasn't doing a thing for his image except making his left eye water.
"Open that shit up," he said.
Charlie and Biff looked at me. I shrugged. We opened our cases and he looked at the horns. Seeing nothing that looked like you could load it and fire it, he wandered back to his comer and sat down on a folding chair.