Black House

Jack tells him he’s got a future in stand-up comedy, no doubt about it, and then opens the door the bee has chosen for them. Behind it is a huge automated laundry, which Beezer immediately dubs the Hall of Cleanliness. Bunched together, they follow the bee down a humid corridor lined with sudsing washers and humming, shuddering dryers. The air smells like baked bread. The washers — each with a single glaring portholed eye — are stacked up to a height of fifty feet or more. Above them, in an ocean of dusty air, pigeons flock in restless currents. Every now and then they pass piles of bones, or some other sign that human beings came (or were brought) this way. In a hallway they find a scooter overgrown with cobwebs. Farther on, a pair of girl’s in-line skates, thick with dust. In a vast library room, the word LAUGH has been formed with human bones on a mahogany table. In a richly appointed (if obviously neglected) parlor through which the bee leads them in a no-nonsense straight line, Dale and Doc observe that the art on one wall appears to consist of human faces that have been cut off, cured, and then stretched on squares of wood. Huge bewildered eyes have been painted into the empty sockets. Dale thinks he recognizes at least one of the faces: Mil-ton Wanderly, a schoolteacher who dropped out of sight three or four years back. Everyone had assumed that Don Wanderly’s kid brother had simply left town. Well, Dale thinks, he left, all right. Halfway down a stone-throated corridor lined with cells, the bee darts into a squalid little chamber and circles above a ragged futon. At first none of them speak. They don’t need to. Ty was here, and not that long ago. They can almost smell him — his fear. Then Beezer turns to Jack. The blue eyes above the lush red-brown beard are narrowed in fury.

"The old bastard burned him with something. Or zapped him."

Jack nods. He can smell that, too, although whether he does so with his nose or his mind he neither knows nor cares. "Burnside won’t be zapping anyone else," he says.

The queen bee zips between them and whirls impatiently in the corridor. To the left, back the way they came, the corridor is black with bees. They turn to the right instead, and soon the bee is leading them down another seemingly endless stairway. At one point they walk through a brief, drippy drizzle — somewhere above this part of the stairs, a pipe in Black House’s unimaginable guts has perhaps let go. Half a dozen of the risers are wet, and they all see tracks there. They’re too blurry to do a forensics team much good (both Jack and Dale have the same thought), but the Sawyer Gang is encouraged: there’s a big set and a little set, and both sets are relatively fresh. Now they are getting somewhere, by God! They begin to move faster, and behind them the bees descend in a vast humming cloud, like some plague out of the Old Testament.

Time may have ceased to exist for the Sawyer Gang, but for Ty Marshall it has become an agonizing presence. He can’t be sure if his sense of Mr. Munshun’s approach is imagination or precognition, but he’s terribly afraid it’s the latter. He has to get out of this shed, has to, but the damned bag keeps eluding him. He managed to pull it close to him with the loop of intestines; ironically, that was the easy part. The hard part is actually getting hold of the damned thing.

He can’t reach it; no matter how he stretches or how cruelly he tests his left shoulder and shackled left wrist, he comes up at least two feet short. Tears of pain roll down his cheeks. Any moisture lost that way is quickly replaced by the sweat that runs stinging into his eyes from his greasy forehead.

"Foot it," he says. "Just like soccer." He looks at the disfigured sprawl in the doorway — his erstwhile tormentor. "Just like soccer, right, Burn-Burn?"

He gets the side of his foot against the bag, pushes it to the wall, and then begins to slide it up the bloodstained wood. At the same time he reaches down . . . now fourteen inches . . . now only a foot . . . reaching . . .

. . . and the leather bag tumbles off the toe of his sneaker and onto the dirt. Plop.

"You’re watching out for him, aren’t you, Burny?" Ty pants. "You have to, you know, my back’s turned. You’re the lookout, right? You’re —  Fuck!" This time the bag has tumbled off his foot before he can even begin to raise it. Ty slams his free hand against the wall.

Why do you do that? a voice inquires coolly. This is the one who sounds like his mother but isn’t his mother, not quite. Will that help you?

"No," Ty says resentfully, "but it makes me feel better."

Getting free will make you feel better. Now try again.

Ty once more rolls the leather bag against the wall. He presses his foot against it, feeling for anything else that might be inside — a key, for instance — but he can’t tell. Not through his sneaker. He begins to slide the bag up the wall again. Carefully . . . not too fast . . . like footing the ball toward the goal . . .

"Don’t let him in, Burny," he pants to the dead man behind him. "You owe me that. I don’t want to go on the mono. I don’t want to go to End-World. And I don’t want to be a Breaker. Whatever it is, I don’t want to be it. I want to be an explorer . . . maybe underwater, like Jacques Cousteau . . . or a flier in the Air Force . . . or maybe . . . FUCK!" This time it’s not irritation when the bag falls off his foot but rage and near panic.

Mr. Munshun, hustling and bustling. Getting closer. Meaning to take him away. Din-tah. Abbalah-doon. For ever and ever.

"Damn old key’s probably not in there, anyway." His voice wavering, close to a sob. "Is it, Burny?"

"Chummy" Burnside offers no opinion.

"I bet there’s nothing in there at all. Except maybe . . . I don’t know . . . a roll of Tums, or something. Eating people’s got to give you indigestion."