knew if a turn of the key would be enough to fire the motor, or if you were going to have to get out and crank until your arm practically fell off.
I’ve had a lot of easy starts since I started telling the story of John Coffey, but yesterday I had to crank. I think it was because I’d gotten to Delacroix’s execution, and part of my mind didn’t want to have to relive that. It was a bad death, a terrible death, and it happened the way it did because of Percy Wetmore, a young man who loved to comb his hair but couldn’t stand to be laughed at – not even by a half bald little Frenchman who was never going to see another Christmas.
As with most dirty jobs, however, the hardest part is just getting started. It doesn’t matter to an engine whether you use the key or have to crank; once you get it going, it’ll usually run just as sweet either way.
That’s how it worked for me yesterday. At first the words came in little bursts of phrasing, then in whole sentences, then in a torrent. Writing is a special and rather terrifying form of remembrance, I’ve discovered – there is a totality to it that seems almost like rape. Perhaps I only feel that way because I’ve become a very old man (a thing that happened behind my own back, I sometimes feel), but I don’t think so. I believe that the combination of pencil and memory creates a kind of practical magic, and magic is dangerous. As a man who knew John Coffey and saw what he could do – to mice and to men – l feel very qualified to say that.
Magic is dangerous.
In any case, I wrote all day yesterday, the words simply flooding out of me, the sunroom of this glorified old folks’ home gone, replaced by the storage room at the end of the Green Mile where so many of my problem children took their last sit-me-downs and the bottom of the stairs which led to the tunnel under the road. That was where Dean and Harry and Brutal and I confronted Percy Wetmore over Eduard Delacroix’s smoking body and made Percy renew his promise to put in for transfer to the Briar Ridge state mental facility.
There are always fresh flowers in the sunroom, but by noon yesterday all I could smell was the noxious aroma of the dead man’s cooked flesh. The sound of the power mower on the lawn down below had been replaced by the hollow plink of dripping water as it seeped slowly through the tunnel’s curved roof. The trip was on. I had travelled back to 1932, in soul and mind, if not body.
I skipped lunch, wrote until four o’clock or so, and when I finally put my pencil down, my hand was aching. I walked slowly down to the end of the second-floor corridor. There’s a window there that looks out on the employee parking lot. Brad Dolan, the orderly who reminds me of Percy – and the one who is altogether too curious about where I go and what I do on my walks – drives an old Chevrolet with a bumper sticker that says I HAVE SEEN GOD AND HIS NAME IS NEWT. It was gone; Brad’s shift was over and he’d taken himself off to whatever garden spot he calls home. I envision an Airstream trailer with Hustler gatefolds Scotch-taped to the walls and Dixie Beer cans in the corners.
I went out through the kitchen, where dinner preparations were getting started. “What you got in that bag, Mr. Edgecombe?” Norton asked me.
“It’s an empty bottle,” I said. “I’ve discovered the Fountain of Youth down there in the woods. I pop down every afternoon about this time and draw a little. I drink it at bedtime. Good stuff, I can tell you.”
“May be keepin you young,” said George, the other cook, “but it ain’t doin shit for your looks.-”
We all had a laugh at that, and I went out. I found myself looking around for Dolan even though his car was gone, called myself a chump for letting him get so far under my skin, and crossed the croquet course.