The Dark Tower (97 page)

Something like that was in Patrick Danville’s eyes as he held out his hands and made his inarticulate pleading noises. Close up, they sounded to her like the mocking cries of some jungle bird on a movie soundtrack:
I-yeee, I-yeee, I-yowk, I-yowk!

Roland took the key from its hook and went to the door. One of Danville’s hands clutched at his shirt and the gunslinger pushed it off. It was a gesture entirely without anger, she thought, but the scrawny thing in the cell backed away with his eyes bulging in their sockets. His hair was long—it hung all the way to his shoulders—but there was only the faintest haze of beard on his cheeks. It was a little thicker on his chin and upper lip. Susannah thought he might be seventeen, but surely not much older.

“No offense, Patrick,” Roland said in a purely conversational voice. He put the key in the lock. “Is thee Patrick? Is thee Patrick Danville?”

The scrawny thing in the dirty jeans and billowing gray shirt (it hung nearly to his knees) backed into the corner of his triangular cell without replying. When his back was against the stone, he slid slowly to a sitting position beside what Susannah assumed was his slop-bucket, the front of his shirt first bunching together and then flowing into his crotch like water as his knees rose to nearly frame his emaciated, terrified face. When Roland opened the cell door and pulled it outward as far as it would go (there were no hinges), Patrick Danville began to make the bird-sound again, only this time louder:
I-
YEEE! I-YOWK! I-YEEEEEE!
Susannah gritted her teeth. When Roland made as if to enter the cell, the boy uttered an even louder shriek, and began to beat the back of his head against the stones. Roland stepped back out of the cell. The awful head-banging ceased, but Danville looked at the stranger with fear and mistrust. Then he held out his filthy, long-fingered hands again, as if for succor.

Roland looked to Susannah.

She swung herself on her hands so she was in the door of the cell. The emaciated boy-thing in the corner uttered its weird bird-shriek again and pulled the supplicating hands back, crossing them at the wrists, turning their gesture into one of pathetic defense.

“No, honey.” This was a Detta Walker Susannah had never heard before, nor suspected. “No, honey, Ah ain’ goan hurt you, if Ah meant t’do dat, Ah’d just put two in yo’ haid, like Ah did that mahfah upstairs.”

She saw something in his eyes—perhaps just a minute widening that revealed more of the bloodshot whites. She smiled and nodded. “Dass ri’! Mistuh Collins, he
daid!
He ain’ nev’ goan come down he’ no mo an . . . whuh? Whut he do to you, Patrick?”

Above them, muffled by the stone, the wind gusted. The lights flickered; the house creaked and groaned in protest.

“Whuh he do t’you, boy?”

It was no good. He didn’t understand. She had just made up her mind to this when Patrick Danville put his hands to his stomach and held it. He twisted his face into a cramp that she realized was supposed to indicate laughter.

“He make you laugh?”

Patrick, crouched in his corner, nodded. His face twisted even more. Now his hands became fists that rose to his face. He rubbed his cheeks with them, then screwed them into his eyes, then looked at her. Susannah noticed there was a little scar on the bridge of his nose.

“He make you cry, too.”

Patrick nodded. He did the laughing mime again, holding the stomach and going ho-ho-ho; he did the crying mime, wiping tears from his fuzzy cheeks; this time he added a third bit of mummery, scooping his hands toward his mouth and making
smack-smack
sounds with his lips.

From above and slightly behind her, Roland said: “He made you laugh, he made you cry, he made you eat.”

Patrick shook his head so violently it struck the stone walls that were the boundaries of his corner.

“He
ate,” Detta said. “Dass whut you trine t’say, ain’t it?
Dandelo
ate.”

Patrick nodded eagerly.

“He made you laugh, he made you cry, and den he ate whut came out. Cause dass what he do!”

Patrick nodded again, bursting into tears. He made inarticulate wailing sounds. Susannah worked her way slowly into the cell, pushing herself along on her palms, ready to retreat if the head-banging started again. It didn’t. When she reached the boy in the corner, he put his face against her bosom and wept. Susannah turned, looked at Roland, and told him with her eyes that he could come in now.

When Patrick looked up at her, it was with dumb, doglike adoration.

“Don’t you worry,” Susannah said—Detta was gone again, probably worn out from all that nice. “He’s not going to get you, Patrick, he’s dead as a doornail, dead as a stone in the river. Now I want you to do something for me. I want you to open your mouth.”

Patrick shook his head at once. There was fear in his eyes again, but something else she hated to see even more. It was shame.

“Yes, Patrick, yes. Open your mouth.”

He shook his head violently, his greasy long hair whipping from side to side like the head of a mop.

Roland said, “What—”

“Hush,” she told him. “Open your mouth, Patrick, and show us. Then we’ll take you out of here and you’ll never have to be down here again. Never have to be Dandelo’s dinner again.”

Patrick looked at her, pleading, but Susannah only looked back at him. At last he closed his eyes and slowly opened his mouth. His teeth were there, but his tongue was not. At some point, Dandelo must have tired of his prisoner’s voice—or the words it articulated, anyway—and had pulled it out.

Twenty minutes later, the two of them stood in the kitchen doorway, watching Patrick Danville eat a bowl of soup. At least half of it was going down the boy’s gray shirt, but Susannah reckoned that was all right; there was plenty of soup, and there were more shirts in the hut’s only bedroom. Not to mention Joe Collins’s heavy parka hung on the hook in the entry, which she expected Patrick
would wear hence from here. As for the remains of Dandelo—Joe Collins that was—they had wrapped them in three blankets and tossed them unceremoniously out into the snow.

She said, “Dandelo was a vampire that fed on emotions instead of blood. Patrick, there . . . Patrick was his cow. There’s two ways you can take nourishment from a cow: meat or milk. The trouble with meat is that once you eat the prime cuts, the not-so-prime cuts, and then the stew, it’s gone. If you just take the milk, though, you can go on forever . . . always assuming you give the cow something to eat every now and then.”

“How long do you suppose he had him penned up down there?” Roland asked.

“I don’t know.” But she remembered the dust on the acetylene tank, remembered it all too well. “A fairly long time, anyway. What must have seemed like forever to him.”

“And it hurt.”

“Plenty. Much as it must have hurt when Dandelo pulled the poor kid’s tongue out, I bet the emotional bloodsucking hurt more. You see how he is.”

Roland saw, all right. He saw something else, as well. “We can’t take him out in this storm. Even if we dressed him up in three layers of clothes, I’m sure it would kill him.”

Susannah nodded. She was sure, too. Of that, and something else: she could not stay in the house.
That
might kill
her
.

Roland agreed when she said so. “We’ll camp out in yonder barn until the storm finishes. It’ll be cold, but I see a pair of possible gains: Mordred may come, and Lippy may come back.”

“You’d kill them both?”

“Aye, if I could. Do’ee have a problem with that?”

She considered it, then shook her head.

“All right. Let’s put together what we’d take out there, for we’ll have no fire for the next two days, at least. Maybe as long as four.”

It turned out to be three nights and two days before the blizzard choked on its own fury and blew itself out. Near dusk of the second day, Lippy came limping out of the storm and Roland put a bullet in the blind shovel that was her head. Mordred never showed himself, although she had a sense of him lurking close on the second night. Perhaps Oy did, too, for he stood at the mouth of the barn, barking hard into the blowing snow.

During that time, Susannah found out a good deal more about Patrick Danville than she had expected. His mind had been badly damaged by his period of captivity, and that did not surprise her. What did was his capacity for recovery, limited though it might be. She wondered if she herself could have come back at all after such an ordeal. Perhaps his talent had something to do with it. She had seen his talent for herself, in Sayre’s office.

Dandelo had given his captive the bare minimum of food necessary to keep him alive, and had stolen emotions from him on a regular basis: two times a week, sometimes three, once in awhile even four. Each time Patrick became convinced that the next time would kill him, someone would happen by. Just lately, Patrick had been spared the
worst of Dandelo’s depredations, because “company” had been more frequent than ever before. Roland told her later that night, after they’d bedded down in the hayloft, that he believed many of Dandelo’s most recent victims must have been exiles fleeing either from Le Casse Roi Russe or the town around it. Susannah could certainly sympathize with the thinking of such refugees:
The King is gone, so let’s get the hell out of here while the getting’s good. After all, Big Red might take it into his head to come back, and he’s off his chump, round the bend, possessed of an elevator that no longer goes to the top floor.

On some occasions, Joe had assumed his true Dandelo form in front of his prisoner, then had eaten the boy’s resulting terror. But he had wanted much more than terror from his captive cow. Susannah guessed that different emotions must produce different flavors: like having pork one day, chicken the next, and fish the day after that.

Patrick couldn’t talk, but he could gesture. And he could do more than that, once Roland showed them a queer find he’d come upon in the pantry. On one of the highest shelves was a stack of oversized drawing pads marked
MICHELANGELO, FINE FOR CHARCOAL
. They had no charcoal, but near the pads was a clutch of brand-new Eberhard-Faber #2 pencils held together by a rubber band. What qualified the find as especially queer was the fact that someone (presumably Dandelo) had carefully cut the eraser off the top of each pencil. These were stored in a canning jar next to the pencils, along with a few paper clips and a pencil-sharpener that looked like the whistles on the undersides of the few remaining Oriza plates from Calla Bryn Sturgis. When Patrick saw the pads, his
ordinarily dull eyes lit up and he stretched both hands longingly toward them, making urgent hooting sounds.

Roland looked at Susannah, who shrugged and said, “Let’s see what he can do. I have a pretty good idea already, don’t you?”

It turned out that he could do a lot. Patrick Danville’s drawing ability was nothing short of amazing. And his pictures gave him all the voice he needed. He produced them rapidly, and with clear pleasure; he did not seem disturbed at all by their harrowing clarity. One showed Joe Collins chopping into the back of an unsuspecting visitor’s head with a hatchet, his lips pulled back in a snarling grin of pleasure. Beside the point of impact, the boy had printed
CHUNT!
And
SPLOOSH!
in big comic-book letters. Above Collins’s head, Patrick drew a thought-balloon with the words
Take that, ya lunker!
in it. Another picture showed Patrick himself, lying on the floor, reduced to helplessness by laughter that was depicted with terrible accuracy (no need of the
Ha! Ha! Ha!
scrawled above his head), while Collins stood over him with his hands on his hips, watching. Patrick then tossed back the sheet of paper with that drawing on it and quickly produced another picture which showed Collins on his knees, with one hand twined in Patrick’s hair while his pursed lips hovered in front of Patrick’s laughing, agonized mouth. Quickly, in a single practiced movement (the tip of the pencil never left the paper), the boy made another comic-strip thought-balloon over the old man’s head and then put seven letters and two exclamation points inside.

“What does it say?” Roland asked, fascinated.

“‘YUM! Good!’” Susannah answered. Her voice was small and sickened.

Subject matter aside, she could have watched him draw for hours; in fact, she did. The speed of the pencil was eerie, and neither of them ever thought to give him one of the amputated erasers, for there seemed to be no need. So far as Susannah could see, the boy either never made a mistake, or incorporated the mistakes into his drawings in a way that made them—well, why stick at the words if they were the right words?—little acts of genius. And the resulting pictures weren’t sketches, not really, but finished works of art in themselves. She knew what Patrick—this one or another Patrick from another world along the path of the Beam—would later be capable of with oil paints, and such knowledge made her feel cold and hot at the same time. What did they have here? A tongueless Rembrandt? It occurred to her that this was their second idiot-savant. Their third, if you counted Oy as well as Sheemie.

Only once did his lack of interest in the erasers cross Susannah’s mind, and she put it down to the arrogance of genius. Not a single time did it occur to her—or to Roland—that this young version of Patrick Danville might not yet know that such things as erasers even existed.

Near the end of the third night, Susannah awoke in the loft, looked at Patrick lying asleep beside her, and descended the ladder. Roland was standing in the doorway of the barn, smoking a cigarette and looking out. The snow had stopped. A
late moon had made its appearance, turning the fresh snow on Tower Road into a sparkling land of silent beauty. The air was still and so cold she felt the moisture in her nose crackle. Far in the distance she heard the sound of a motor. As she listened, it seemed to her that it was drawing closer. She asked Roland if he had any idea what it was or what it might mean to them.