Black House (Page 145)

A big crow flaps onto a low-hanging branch, cocks its head, and seems to fix Sonny’s eyes with its own. The crow must be looking at all of them, Sonny knows, but he cannot shake the illusion that the crow is staring directly at him, and that its black insatiable eyes are dancing with malice. The uncomfortable feeling that the crow is amused by the sight of him bent over his bike makes Sonny think of his Magnum.

Turn you into a mess of bloody feathers, baby.

Without unfolding its wings, the crow hops backward and disappears into the oak leaves.

"GO!" Beezer shouts.

The moment Mouse charges in, Little Nancy’s rotting hands clamp down on his shoulders. Her thin bones press down on the leather hard enough to leave bruises on his skin. Although he knows this is impossible — you cannot get rid of what does not exist — the sudden flare of pain causes him to try to shake her off. He twitches his shoulders and wiggles the handlebars, and the bike wobbles. As the bike dips, Little Nancy digs in harder. When Mouse rights himself, she pulls herself forward, wraps her bony arms around his chest, and flattens her body against his back. Her skull grinds against the nape of his neck; her teeth bite down on his skin.

It is too much. Mouse had known she would reappear, but not that she would put him in a vise. And despite his speed, he has the feeling that he is traveling through a substance heavier and more viscous than air, a kind of syrup that slows him down, holds him back. Both he and the bike seem unnaturally dense, as if gravity exerts a stronger pull on the little road than anywhere else. His head pounds, and already he can hear that dog growling in the woods off to his right. He could take all of that, he supposes, if it were not for what stopped him the last time he drove up this path: a dead woman. Then she was Kiz Martin; now the dead woman is Little Nancy, and she is riding him like a dervish, slapping his head, punching him in the side, battering his ears. He feels her teeth leave his neck and sink into the left shoulder of his jacket. One of her arms whips in front of him, and he enters a deeper level of shock and horror when he realizes that this arm is visible. Rags of skin flutter over long bones; he glimpses white maggots wriggling into the few remaining knots of flesh.

A hand that feels both spongelike and bony flaps onto his cheek and crawls up his face. Mouse cannot keep it together anymore: his mind fills with white panic, and he loses control of the bike. When he heads into the curve that leads to Black House, the wheels are already tilting dangerously, and Mouse’s sideways jerk of revulsion pushes them over beyond the possibility of correction.

As the bike topples, he hears the dog snarling from only a few yards away. The Harley smashes down on his left leg, then skids ahead, and he and his ghastly passenger slide after it. When Mouse sees Black House looming from its dark bower amid the trees, a rotting hand flattens over his eyes. His scream is a bright, thin thread of sound against the fury of the dog.

A few seconds after going in, Beezer feels the air thicken and congeal around him. It’s some trick, he tells himself, an illusion produced by the Fisherman’s mind-fuck toxins. Trusting that the others will not be suckered by this illusion, he raises his head and looks over Mouse’s broad back and cornrowed head to see the road curve to the left about fifty feet ahead. The thick air seems to weigh down on his arms and shoulders, and he feels the onset of the mother and father of all headaches, a dull, insistent pain that begins as a sharp twinge behind his eyes and moves thudding deeper into his brain. Beezer gives Doc a half second of attention, and from what he sees, Doc is taking care of business. A glance at the speedometer tells him that he is traveling at thirty-five miles per hour and gathering steam, so they should be doing sixty by the time they come into the curve.

Off to his left, a dog growls. Beezer hauls his pistol out of his pocket and listens to the growling keep pace with them as they speed toward the curve. The band of pain in his head widens and intensifies; it seems to push at his eyes from the inside, making them bulge in their sockets. The big dog — it has to be a dog, what else could it be? — is getting closer, and the fury of its noises makes Beezer see a giant, tossing head with blazing red eyes and ropes of slather whipping from a gaping mouth filled with shark’s teeth.

Two separate things destroy his concentration: the first is that he sees Mouse slamming himself back and forth on his bike as he goes into the curve, as if he is trying to scratch his back on the thickening air; the second is that the pressure behind his eyes triples in force, and immediately after he sees Mouse going into what is surely a fall, the blood vessels in his eyes explode. From deep red, his vision shifts rapidly to absolute black. An ugly voice starts up in his head, saying, Amy zadt in my lap an huggedt mee. I made opp my mindt to eed hurr. How she dud, dud, dud kick an scrutch. I chokked hurr do deff — 

"No!" Beezer shouts, and the voice that is pushing at his eyes drops into a rasping chuckle. For less than a second, he gets a vision of a tall, shadowy creature and a single eye, a flash of teeth beneath a hat or a hood —

— and the world abruptly revolves around him, and he ends up flat on his back with the bike weighing on his chest. Everything he sees is stained a dark, seething red. Mouse is screaming, and when Beezer turns his head in the direction of the screams, he sees a red Mouse lying on a red road with a huge red dog barreling toward him. Beezer cannot find his pistol; it went sailing into the woods. Shouts, screams, and the roar of motorcycles fill his ears. He scrambles out from under the bike yelling he knows not what. A red Doc flashes by on his red bike and almost knocks him down again. He hears a gunshot, then another.

Doc sees Beezer glance at him and tries not to show how sick he feels. Dishwater boils in his stomach, and his guts are writhing. It feels like he is going about five miles an hour, the air is so thick and rancid. For some reason, his head weighs thirty or forty pounds, damnedest thing; it would almost be interesting if he could stop the disaster happening inside him. The air seems to concentrate itself, to solidify, and then boom, his head turns into a superheavyweight bowling ball that wants to drop onto his chest. A giant growling sound comes from out of the woods beside him, and Doc almost yields to the impulse to puke. He is dimly aware that Beezer is pulling out his gun, and he supposes he should do the same, but part of his problem is that the memory of a child named Daisy Temperly has moved into his mind, and the memory of Daisy Temperly paralyzes his will.