Black House (Page 222)

"What do you want me to do?" he asks. Tyler Marshall: the lioness’s cub.

Once more Jack points at the Big Combination. "You’re what all this has been about, Ty. You’re a Breaker." He takes a deep breath and then whispers into the pink cup of the boy’s ear.

"Break it."

Tyler Marshall turns his head and gazes deep into Jack’s eyes. He says, "Break it?"

Jack nods his head, and Ty looks back at the Big Combination.

"Okay," he says, speaking not to Jack but to himself. He blinks, settles his feet, clasps his hands in front of his waist. A tiny wrinkle appears between his eyebrows, and the corners of his mouth lift in the suggestion of a smile. "Okay," Ty whispers.

For a second, nothing happens.

Then a rumble emerges from the bowels of the Big Combination. Its upper portion wavers like a heat mirage. The guards hesitate, and the screams of tortured metal rip through the air. Visibly confused, the toiling children look up, look in all directions. The mechanical screaming intensifies, then divides into a hundred different versions of torture. Gears reverse. Cogs jam smoking to a halt; cogs accelerate and strip their teeth. The whole of the Big Combination shivers and quakes. Deep in the earth, boilers detonate, and columns of fire and steam shoot upward, halting, sometimes shredding belts that have run for thousands of years, powered by billions of bleeding footsies.

It is as if an enormous metal jug has sprung a hundred leaks at once. Jack watches children leap from the lower levels and climb down the exterior of the structure in long, continuous lines. Children pour from the trembling building in dozens of unbroken streams.

Before the green-skinned whipslingers can make an organized attempt to stop their slaves from escaping, the bees assemble massively around the great foundry. When the guards begin to turn on the children, the bees descend in a furious tide of buzzing wings and needling stings. Some of Ty’s power has passed into them, and their stings are fatal. Guards topple and fall from the unmoving belts and trembling girders. Others turn maddened on their own, whipping and being whipped until they tumble through the dark air.

The Sawyer Gang does not linger to see the end of the slaughter. The queen bee sails toward them out of the swarming chaos, floats above their upturned heads, and leads them back toward Black House.

In world upon world — in worlds strung side by side in multiple dimensions throughout infinity — evils shrivel and disperse: despots choke to death on chicken bones; tyrants fall before assassins’ bullets, before the poisoned sweetmeats arrayed by their treacherous mistresses; hooded torturers collapse dying on bloody stone floors. Ty’s deed reverberates through the great, numberless string of universes, revenging evil as it spreads. Three worlds over from ours and in the great city there known as Londinorium, Turner Topham, for two decades a respected member of Parliament and for three a sadistic pedophile, bursts abruptly into flame as he strides along the crowded avenue known as Pick-a-Derry. Two worlds down, a nice-looking young welder named Freddy Garver from the Isle of Irse, another, less seasoned member of Topham’s clan, turns his torch upon his own left hand and incinerates every particle of flesh off his bones.

Up, up in his high, faraway confinement, the Crimson King feels a deep pain in his gut and drops into a chair, grimacing. Something, he knows, something fundamental, has changed in his dreary fiefdom.

In the wake of the queen bee, Tyler Marshall, his eyes alight and his face without fear, sits astride Jack’s shoulders like a boy king. Behind Jack and his friends, hundreds upon hundreds of children who are fleeing from the disintegrating structure of the Big Combination come streaming on to Conger Road and the desolate fields beside it. Some of these children are from our world; many are not. Children move across the dark, empty plains in ragged armies, advancing toward the entrances to their own universes. Limping battalions of children stagger off like columns of drunken ants.

The children following the Sawyer Gang are no less ragged than the rest. Half of them are naked, or as good as naked. These children have faces we have seen on milk cartons and flyers headed MISSING and on child-find Web sites, faces from the dreams of heartbroken mothers and desolate fathers. Some of them are laughing, some are weeping, some are doing both. The stronger ones help the weaker ones along. They do not know where they are going, and they do not care. That they are going is enough for them. All they know is that they are free. The great machine that had stolen their strength and their joy and their hope is behind them, and a silken, protective canopy of bees is above them, and they are free.

At exactly 4:16 P.M., the Sawyer Gang steps out through the front door of Black House. Tyler is now riding on Beezer’s burly shoulders. They descend the steps and stand in front of Dale Gilbertson’s cruiser (there’s a litter of dead bees on the hood and in the well where the windshield wipers hide).

"Look at the house, Hollywood," Doc murmurs.

Jack does. It’s only a house, now — a three-story job that might once have been a respectable ranch but has fallen into disrepair over the years. To make matters worse, someone has slopped it with black paint from top to bottom and stem to stern — even the windows have been blurred with swipes of that paint. The overall effect is sad and eccentric, but by no means sinister. The house’s slippery shifting shape has solidified, and with the abbalah’s glammer departed, what remains is only the abandoned home of an old fellow who was pretty crazy and extremely dangerous. An old fellow to put beside such human monsters as Dahmer, Haarman, and Albert Fish. The leering, rampant evil that once inhabited this building has been dissipated, blown away, and what remains is as mundane as an old man mumbling in a cell on Death Row. There is something Jack must do to this wretched place — something the dying Mouse made him promise to do.