“If he is down there,” Mr. Patel says softly, and to no one but himself, “tonight he will be doing whatever he wants.”
He crosses his arms over his chest and shivers.
Dale Gilbertson is at home, for a wonder. He plans to have a sit-down dinner with his wife and child even if the world ends because of it. He comes out of his den (where he has spent twenty minutes talking with WSP officer Jeff Black, a conversation in which he has had to exercise all his discipline to keep from shouting), and sees his wife standing at the window and looking out. Her posture is almost exactly the same as Debbi Anderson’s, only she’s got a glass of wine in her hand instead of a cup of coffee. The puckery little frown is identical.
“River fog,” Sarah says dismally. “Isn’t that ducky. If he’s out there—”
Dale points at her. “Don’t say it. Don’t even think it.”
But he knows that neither of them can help thinking about it. The streets of French Landing—the foggy streets of French Landing—will be deserted right now: no one shopping in the stores, no one idling along the sidewalks, no one in the parks. Especially no children. The parents will be keeping them in. Even on Nailhouse Row, where good parenting is the exception rather than the rule, the parents will be keeping their kids inside.
“I won’t say it,” she allows. “That much I can do.”
“What’s for dinner?”
“How does chicken pot pie sound?”
Ordinarily such a hot dish on a July evening would strike him as an awful choice, but tonight, with the fog coming in, it sounds like just the thing. He steps up behind her, gives her a brief squeeze, and says, “Great. And earlier would be better.”
She turns, disappointed. “Going back in?”
“I shouldn’t have to, not with Brown and Black rolling the ball—”
“Those pricks,” she says. “I never liked them.”
Dale smiles. He knows that the former Sarah Asbury has never cared much for the way he earns his living, and this makes her furious loyalty all the more touching. And tonight it feels vital, as well. It’s been the most painful day of his career in law enforcement, ending with the suspension of Arnold Hrabowski. Arnie, Dale knows, believes he will be back on duty before long. And the shitty truth is that Arnie may be right. Based on the way things are going, Dale may need even such an exquisite example of ineptitude as the Mad Hungarian.
“Anyway, I shouldn’t have to go back in, but . . .”
“You have a feeling.”
“I do.”
“Good or bad?” She has come to respect her husband’s intuitions, not in the least because of Dale’s intense desire to see Jack Sawyer settled close enough to reach with seven keystrokes instead of eleven. Tonight that looks to her like—pardon the pun—a pretty good call.
“Both,” Dale says, and then, without explaining or giving Sarah a chance to question further: “Where’s Dave?”
“At the kitchen table with his crayons.”
At six, young David Gilbertson is enjoying a violent love affair with Crayolas, has gone through two boxes since school let out. Dale and Sarah’s strong hope, expressed even to each other only at night, lying side by side before sleep, is that they may be raising a real artist. The next Norman Rockwell, Sarah said once. Dale—who helped Jack Sawyer hang his strange and wonderful pictures—has higher hopes for the boy. Too high to express, really, even in the marriage bed after the lights are out.
With his own glass of wine in hand, Dale ambles out to the kitchen. “What you drawing, Dave? What—”
He stops. The crayons have been abandoned. The picture—a half-finished drawing of what might be either a flying saucer or perhaps just a round coffee table—has also been abandoned.
The back door is open.
Looking out at the whiteness that hides David’s swing and jungle gym, Dale feels a terrible fear leap up his throat, choking him. All at once he can smell Irma Freneau again, that terrible smell of raw spoiled meat. Any sense that his family lives in a protected, magic circle—it may happen to others, but it can never, never happen to us—is gone now. What has replaced it is stark certainty: David is gone. The Fisherman has enticed him out of the house and spirited him away into the fog. Dale can see the grin on the Fisherman’s face. He can see the gloved hand—it’s yellow—covering his son’s mouth but not the bulging, terrified child’s eyes.
Into the fog and out of the known world.
David.
He moves forward across the kitchen on legs that feel boneless as well as nerveless. He puts his wineglass down on the table, the stem landing a-tilt on a crayon, not noticing when it spills and covers David’s half-finished drawing with something that looks horribly like venous blood. He’s out the door, and although he means to yell, his voice comes out in a weak and almost strengthless sigh: “David? . . . Dave?”
For a moment that seems to last a thousand years, there is nothing. Then he hears the soft thud of running feet on damp grass. Blue jeans and a red-striped rugby shirt materialize out of the thickening soup. A moment later he sees his son’s dear, grinning face and mop of yellow hair.
“Dad! Daddy! I was swinging in the fog! It was like being in a cloud!”
Dale snatches him up. There is a bad, blinding impulse to slap the kid across the face, to hurt him for scaring his father so. It passes as quickly as it came. He kisses David instead.
“I know,” he says. “That must have been fun, but it’s time to come in now.”
“Why, Daddy?”
“Because sometimes little boys get lost in the fog,” he says, looking out into the white yard. He can see the patio table, but it is only a ghost; he wouldn’t know what he was looking at if he hadn’t seen it a thousand times. He kisses his son again. “Sometimes little boys get lost,” he repeats.
Oh, we could check in with any number of friends, both old and new. Jack and Fred Marshall have returned from Arden (neither suggested stopping at Gertie’s Kitchen in Centralia when they passed it), and both are now in their otherwise deserted houses. For the balance of the ride back to French Landing, Fred never once let go of his son’s baseball cap, and he has a hand on it even now, as he eats a microwaved TV dinner in his too empty living room and watches Action News Five.
Tonight’s news is mostly about Irma Freneau, of course. Fred picks up the remote when they switch from shaky-cam footage of Ed’s Eats to a taped report from the Holiday Trailer Park. The cameraman has focused on one shabby trailer in particular. A few flowers, brave but doomed, straggle in the dust by the stoop, which consists of three boards laid across two cement blocks. “Here, on the outskirts of French Landing, Irma Freneau’s grieving mother is in seclusion,” says the on-scene correspondent. “One can only imagine this single mother’s feelings tonight.” The reporter is prettier than Wendell Green but exudes much the same aura of glittering, unhealthy excitement.
Fred hits the OFF button on the remote and growls, “Why can’t you leave the poor woman alone?” He looks down at his chipped beef on toast, but he has lost his appetite.
Slowly, he raises Tyler’s hat and puts it on his own head. It doesn’t fit, and Fred for a moment thinks of letting out the plastic band at the back. The idea shocks him. Suppose that was all it took to kill his son? That one simple, deadly modification? The idea strikes him as both ridiculous and utterly inarguable. He supposes that if this keeps up, he’ll soon be as mad as his wife . . . or Sawyer. Trusting Sawyer is as crazy as thinking he might kill his son by changing the size of the boy’s hat . . . and yet he believes in both things. He picks up his fork and begins to eat again, Ty’s Brewers cap sitting on his head like Spanky’s beanie in an old Our Gang one-reeler.
Beezer St. Pierre is sitting on his sofa in his underwear, a book open on his lap (it is, in fact, a book of William Blake’s poems) but unread. Bear Girl’s asleep in the other room, and he’s fighting the urge to bop on down to the Sand Bar and score some crank, his old vice, untouched for going on five years now. Since Amy died, he fights this urge every single day, and lately he wins only by reminding himself that he won’t be able to find the Fisherman—and punish him as he deserves to be punished—if he’s fucked up on devil dust.