into them, all the while watching ten-year-old Shep.
Even to Jilly, who knew how to read the subtleties of expression in Shepherd's guarded face, the boy appeared to be unmoved by his mother's death. This couldn't be the case, for ten years later he had brought them back in time to bear witness; in his older incarnation, he'd come to this scene with palpable dread, repeating Shep is brave.
Features slack, no tremor at the mouth, without tears, the boy turned from his mother's body. He walked to the nearest corner, where he stood staring at the meeting of the walls.
Overwhelmed by traumatic experience, he reduced his world to a narrow space, where he felt safer. Likewise, he dealt with grief.
Flexing his latex-sheathed hands, Proctor went to the boy and stood over him, watching.
Rocking slowly back and forth, young Shepherd began to murmur a rhythmic series of words that Jilly could not quite hear.
Dylan still knelt at his mother's side, his head bowed as though in prayer. He wasn't ready to leave her yet.
Satisfied that corner-focused Shepherd would serve diligently as the warden of his own imprisonment, Proctor walked out of the living room, crossed the entrance hall, and opened the door to another room.
If they weren't going to fold out of here immediately, then it made sense to follow Proctor and learn what he was doing.
With an affectionate squeeze, she released Shep. 'Let's see what the bastard is up to. Will you come with me, sweetie?'
Leaving Shep alone wasn't an option. Still scared and grieving, he needed companionship. Besides, though Jilly doubted that he would fold out of here without her and Dylan, she dared not chance it.
'Will you come with me, Shepherd?'
'Rat, Mole, Mr. Toad.'
'What does that mean, Shep? What do you want?'
'Rat, Mole, Mr. Toad. Rat, Mole, Mr. Toad.'
By the third time he recited this mantra, he had synchronized his words to those of ten-year-old Shepherd in the corner, and the resonance between them revealed the words that the younger Shep was murmuring as he rocked. 'Rat, Mole, Mr. Toad.'
Jilly didn't know the meaning of this, and she didn't have the time to get involved in one of those long, circuitous conversations with Shepherd. 'Rat, Mole, Mr. Toad. We'll talk about that later, sweetie. Right now, just come with me. Come along with me.'
Somewhat to her surprise, without hesitation, Shep followed her out of the living room.
As they entered the study, Proctor used the computer keyboard to smash the monitor. He shoved the entire machine off the desk, onto the floor. He exhibited no glee, even winced at the mess he'd made.
Drawer by drawer, he quickly searched for diskettes. He found a few, stacked them aside. He tossed the other contents of the drawers on the floor, scattering them widely, evidently hoping to create the impression that the person or persons responsible for the death of Dylan's mother had been ordinary thieves and vandals.
File cabinets in the bottom of the study closet contained only paper records. He dismissed these at once.
Atop the file cabinets were double-wide diskette-storage boxes: three of them, each capable of holding perhaps a hundred diskettes.
Proctor snatched diskettes out of the boxes, tossing them aside in handfuls without reading labels. In the third box, he found four diskettes different from the others, in canary-yellow paper sleeves.
'Bingo,' Proctor said, bringing these four to the desk.
Holding Shep's hand, Jilly moved close to Proctor, expecting him to cry out as if he'd seen a ghost. His breath smelled of peanuts.
The yellow sleeve of each diskette blazed with the word WARNING! printed in red. The rest of the printing was in black: legalistic prose stating that these diskettes contained private files protected by lawyer-client privilege, that criminal and civil prosecution would be undertaken against anyone in wrongful possession of same, and that anyone not in the employment of the below-referenced law firm would automatically be in wrongful possession.
Proctor slid one diskette out of its sleeve to read the label. Satisfied, he tucked all four into an inner jacket pocket.
Now that he had what he'd come for, Proctor played vandal once more, pulling books off the study shelves and slinging them across the room. With flapping pages, the volumes flew through Jilly and Shepherd, dropping like dead birds to the floor.
* * *
When the computer crashed off the study desk, Dylan remembered the mess in which parts of the house had been found that February night long ago. Thus far he had remained at his mother's side with the irrational hope that even though he had been unable to save her from the bullet, he would somehow spare her from the indignity yet to come. The racket in the study forced him to accept that in this matter, he was indeed as helpless as his brother.
His mother was gone, ten years gone, and all that had followed her death remained immutable. His concern now must be for the living.
He didn't care to watch Proctor engaged in set-dressing. He knew what the ultimate look of the scene would be.
Instead, he went to the corner where ten-year-old Shep rocked back and forth, murmuring. 'Rat, Mole, Mr. Toad.'
This was not what Dylan might have expected to hear his brother chanting, but it did not mystify him.
After the complete works of Dr. Seuss and others, the first story for older children that their mother read to Shep was Kenneth Grahame's The Wind in the Willows. Shep had so adored the tale of Rat, Mole, Toad, Badger, and the other colorful characters of the Wild Wood that he had insisted she read it to him again and again during the year that followed. By the time he was ten, he'd read it at least twenty times on his own.
He wanted the company of Rat, Mole, and Mr. Toad, the story of friendship and hope, the dream of life in warm and secure burrows, in deep lamplit warrens, in sheltered glades, wanted the reassurance that after fearful adventures, after chaos, there would be always the circle of friends, the firelit hearth, quiet evenings when the world shrank to the size of a family and when no heart beat in a stranger.
Dylan couldn't give him that. In fact, if such a life could be lived in this world, the likelihood was that it could be enjoyed only by characters in books.
In the downstairs hall, the mirror by the front door shattered. If memory served, it had been broken with the vase that had stood on the small entry table.
From the living-room doorway, Jilly called to Dylan, 'He's going upstairs!'
'Let him go. I know what he does. Sacks the master bedroom and steals Mom's jewelry... I guess to make it look like a robbery. Her purse is up there. He empties it, takes the money from her wallet.'
Jilly and Shepherd joined him, gathering behind the long-ago Shepherd in the long-ago corner.
This was not where Shep had been found on the night of February 12, 1992. Dylan wanted to remain in this time until he knew if Shep had been spared bearing witness to what was yet to come.
From upstairs echoed the hard crashes of drawers being pulled out of the bureau and thrown against the walls.
'Rat, Mole, Mr. Toad,' said the younger Shepherd, and the older Shep, armoring himself against a scary world and perhaps speaking also to his ten-year-old self, said, 'Shep is brave, Shep is brave.'
After a minute, the noises of destruction ceased upstairs. Proctor had probably found the purse. Or he was loading his pockets with her jewelry, none of which had great value.
Head bowed in his posture of eternal supplication, the younger Shep moved out of the corner and shuffled to the dining-room door, and the older Shep closely followed him. Like processional monks, they were, in a brotherhood of the genteel estranged.
Relieved, Dylan would have followed them anyway, but when he heard Proctor's footsteps thundering as hard as knocking hooves on the stairs, he stepped after his brother more quickly, pulling Jilly with him, out of the living room.
Ten-year-old Shep rounded the table and returned to his chair. He sat and stared at his puzzle.
The golden-retriever
puppies in the basket revealed a moment of peace and charm that couldn't possibly exist in this violent fallen world, that must instead represent a glimpse into a burrow in the Wild Wood.
Shepherd stood across the table from his younger self, flanked by Jilly and Dylan, watching.
In the living room, Proctor began to overturn furniture, tear paintings from the walls, and smash bibelots, further developing the scenario that would lead the police away from any consideration that the intruder might have been other than a common drug-pumped thug.
Younger Shep selected a piece of the jigsaw from the puzzle box. He scanned the incomplete picture. He tried the fragment in a wrong hole, another wrong hole, but inserted it correctly on his third try. The next piece he placed at once. And the next, faster.
After the loudest of the crashes, the living room grew quiet.
Dylan tried to focus on the gracefulness with which ten-year-old Shep turned chaos into puppies and a basket. He hoped to block from his mind images of the final bit of scene-setting in which Proctor must be now engaged.
Inevitably, he failed.
To suggest that the initial intentions of the murderous intruder had included rape as well as robbery, Proctor would tear open Blair O'Conner's blouse, popping the buttons from throat to belt line. To suggest that the victim had fought back before she could be sexually assaulted, and that she'd been shot accidentally during a struggle or on purpose by a man enraged when rejected, Proctor would tear at her bra, snapping one shoulder strap, jerking the cups below her breasts.
With these indignities committed, he came into the dining room, flushed from his exertions.
If ever Dylan had been capable of murder, this was the moment. He had the will, but he did not have the way. His fists were less than smoke to Proctor here. Even if he'd come with a revolver from his own time, the bullet would drill Proctor without shredding one filament of flesh.
Stopping just inside the doorway, the killer watched ten-year-old Shep at the table, oblivious of his audience. He blotted his brow with a handkerchief. 'Boy, do you smell my sweat?'
Fingers plucked, hands darted, unfinished puppies were made whole, but Shepherd did not answer the question.
'I stink of worse than sweat, don't I? Treachery. I've stunk of that for five years, and I always will.'
The man's self-dramatization and self-flagellation infuriated Dylan, for just as in the motel room the previous night, it wasn't a fraction as sincere as Proctor might believe it was, but allowed the creep to indulge in self-pity while calling it courageous self-analysis.
'And now I stink of this.' He watched as the young puzzler puzzled, and then said, 'What a wretched little life. One day, I'll be your redemption, boy, and maybe you'll be mine.'
Proctor stepped from the room, left the house, went out into the night of February 12, 1992, beginning his journey toward his so-called redemption and his fiery death in Arizona more than ten years later.
The puzzle-working Shepherd's face had acquired a glaze of tears as silently as dew forms from the air.
'Let's get out of here,' Jilly said.
'Shep?' Dylan asked.
The older puzzler, who shook with emotion but did not cry, stood watching his younger self. He didn't immediately reply, but after his brother spoke to him twice more, he said, 'Wait. No gooey-bloody Mr. David Cronenberg movie. Wait.'
Although they supposedly weren't engaging in teleportation, per se, and although the mechanism of their travel still mystified him, Dylan could imagine lots of errors in transport almost as unpleasant as those portrayed in The Fly. Accidentally folding onto a highway, in the path of a hurtling Peterbilt, could be a quashing experience.
To Jilly, he said, 'Let's wait till Shep's confident of doing it right.'
Here a bit of golden fur, there the tip of a black snout, and here a quizzical eye: Although time seemed to crawl, the boy's hands flew rapidly toward a full solution.
After a few minutes, older Shepherd said, 'Okay.'
'Okay – we can go?' Dylan asked.
'Okay. We can go, but we can't leave.'
Baffled, Dylan said, 'We can go, but we can't leave?'
'Something,' Shep added.
Interestingly, Jilly was the first to understand. 'We can go, but we can't leave something. If we don't have everything we brought, he's not able to fold us out of the past. I left my purse and the laptop in the kitchen.'
They retreated from the dining room, leaving younger Shep to his tears and to the final pieces of his puzzle.
Although he could have felt the light switch if he'd touched it, Dylan knew he couldn't turn on the fluorescents any more than he had been able to stop a bullet. In the kitchen gloom, he couldn't see if the purse and the laptop, which Jilly had put on the table, rested in the inky blots that traveled under their feet and that spread between them and everything they touched here in the past, but he assumed the black puddles were there.
Slinging the purse over her shoulder, grabbing the laptop, Jilly said, 'Got 'em. Let's go.'
The back door opened, and she whirled toward it as if certain that the door-busting, window-bashing, steroid-chugging crowd from Holbrook, Arizona, had folded themselves back to this California yesteryear in hot pursuit.
Dylan was not surprised to see a younger version of himself step through the door.
On February 12, 1992, he had been attending an evening class at the University of California Santa Barbara. He'd ridden to and from class with a friend who had dropped him off at the end of the long driveway less than two minutes ago.
What did surprise Dylan was how soon after the murder he had arrived home. He checked his watch, then looked at the pig-belly clock. That February night, if he had arrived home five minutes sooner, he would have encountered Lincoln Proctor as the killer left the house. If he'd arrived all of sixteen minutes earlier, he might have been shot dead – but he might have prevented his mother's murder.
Sixteen minutes.
He refused to think about what might have been. Dared not.
Nineteen-year-old Dylan O'Conner closed the door behind him, without bothering to switch on the lights, walked through a startled Jilly Jackson. He put a couple books on the kitchen table and headed toward the dining room.
'Fold us out of here, Shep,' Dylan said.
In the dining room, the younger Dylan spoke to the younger Shepherd: 'Hey, buddy, smells like we have cake tonight.'
'Fold us home, Shep. Our own time.'
In the adjacent room, the other Dylan said, 'Buddy, are you crying? Hey, what's wrong?'
Hearing his own tortured wail when he found his mother's body would be the camel-crippling straw. 'Shep, get us to hell out of here now, now.'
The dark kitchen folded away. A bright place folded toward them. Crazily, Dylan wondered if Shepherd's fantastic trick of travel might not be limited merely to journeys through space and time, but if it might extend to dimensions unknown to the living. Perhaps it had been a mistake to say 'to hell' just before they left 1992.
36
The kaleidoscope tweaked. Around Jilly the sunlit kitchen folded in through the outgoing night kitchen, and fell into place in every bright detail.
No delicious smell of freshly baked cake. No shimmering black energy underfoot.
The smiling ceramic pig on the wall clasped its front hooves around the clock in its belly, which read 1:20, twenty-four minutes after they had folded out of the besieged motel room in Arizona. The present had progressed equal to the amount of time that they had spent in the past.
No open gateway loomed behind them, giving a view of the dark kitchen in 1992, nor a radiant tunnel. She had the feeling that the tunnel had been a travel technique that Shepherd didn't need to use anymore, that it was crude compared to his current method, by which he moved them from place to place without maintaining a tether to the location that they had departed.
Impressed by her own aplomb, as though she had just stepped out of a conveyance no more extraordinary than a commo
n elevator, Jilly put the laptop on the kitchen table. 'You didn't change the place much, did you? Looks the same.'
Dylan shushed her, cocked his head, listening intently.
A pool of stillness flooded the house until the refrigerator motor kicked on.
'What's wrong?' Jilly asked.
'I'm going to have to explain this to Vonetta. Our housekeeper. That's her Harley in front of the garage.'
Looking out the kitchen windows, Jilly saw the garage at the end of the backyard, but no motorcycle. 'What Harley?'
'There.' Dylan turned, pointing through a window to a place where no Harley stood. 'Huh. She must've gone to the store for something. Maybe we can get in and out of here before she's back.'
Shepherd opened the refrigerator. Perhaps he was looking for a consoling piece of cake.
Still assimilating their journey into the past, unconcerned about the housekeeper, Jilly said, 'While Proctor's enemies, whoever they are, were closing in on him, he was tracking down you and Shep.'
'Last night when he had me strapped in that chair, he said he was so eaten away with remorse that he was empty inside, but it didn't make sense to me then.'
'The creep's always been empty inside,' Jilly said. 'From day one, from the cradle, if you ask me.'
'The remorse is bullshit. He's got this self-deprecation shtick that makes him feel good about himself. Sorry, Jilly.'
'That's okay. After what we've been through, you've got every right not to say diaper dump.'
She almost got a laugh out of him, but 1992 was still too much in their minds for Dylan to manage more than a smile. 'No. I mean, I'm sorry you got caught up in this because of me. Me and Shep.'
'Proctor just had an extra dose of his hell juice, he needed someone to screw over, and there I was, out for a root beer.'
Standing at the open refrigerator, Shepherd said, 'Cold.'
'But Proctor wouldn't have been there,' Dylan said, 'if Shep and I hadn't been there.'
'Yeah, and I wouldn't have been there if I hadn't spent all of my relatively short, so-called adult life trying to be a standup joke jockey, telling myself that performing is not just a meaningful life but the only life. Hell, I don't have to worry about my ass getting big, 'cause I'm already a big ass. So don't you start with your own remorse shtick. It happened, we're here, and even with the nanobots supposedly building the New Jerusalem inside our skulls, being here and alive is – so far, anyway – better than being dead. So what now?'
'What now is we pack up some gear, and quick. Clothes for Shep and me, some money I've got in a lockbox upstairs, and a gun.'
'You've got a gun?'
'Bought it after what happened to my mother. They never caught the killer. I thought he might come back.'
'You know how to use it?'
'I'm no Little Annie Oakley,' he said. 'But I can point the damn thing and squeeze the trigger if I have to.'
She was dubious. 'Maybe we should buy a baseball bat.'
'Cold,' said Shepherd.
'Clothes, money, gun – then we hit the road,' Dylan said.
'You think those guys who trailed us to the motel in Holbrook might show up here?'
He nodded. 'If they have law-enforcement connections or any kind of national reach, yeah, they'll come.'
Jilly said, 'We can't keep folding everywhere we go. It's too weird, it's too full of surprises, and it might wear Shep out and leave us stuck somewhere – or something worse than stuck.'
'I've got a Chevy in the garage.'
'Cold.'
Jilly shook her head. 'They'll probably know you've got the Chevy. They come here, find it missing, they'll be looking for it.'
'Cold.'