Four Past Midnight - Stephen King [376]
'All right,' Kevin said. 'All I'm trying to say is I couldn't have bought any more film even if I'd wanted to. I used up all the money I had buying the three film packs. I even borrowed a buck from Megan, so I let her shoot a couple, too.'
'Between the two of you, you used up all the exposures? Every single one?'
'Yes! Yes! He even said it was fifty-eight! And between the time when I finished shooting all the pictures he wanted and when we went to look at the tape he made, I never bought any more film. It was dead empty when I brought it in, Dad! The number in the little window was a zero! I saw it, I remember! So if it was my camera, how come it said three in the window when we went back downstairs?'
'He couldn't have -' Then his father stopped, and a queer look of uncharacteristic gloom came over his face as he realized that Pop could have, and that the truth of it was this: he, John Delevan, didn't want to believe that Pop had; that even bitter experience had not been sufficient vaccination against foolishness, and Pop might have pulled the wool over his own eyes as well as those of his son.
'Couldn't have what? What are you thinking about, Dad? Something just hit you!'
Something had hit him, all right. How eager Pop had been to go downstairs and get the original Polaroids so they could all get a closer look at the thing around the dog's neck, the thing that turned out to be Kevin's latest string tie from Aunt Hilda, the one with the bird on it that was probably a woodpecker.
We might as well go down with you, Kevin had said when Pop had offered to get the photos, but hadn't Pop jumped up himself, chipper as a chickadee? Won't take a minute, the old man had said, or some such thing, and the truth was, Mr Delevan told himself, I hardly noticed what he was saying or doing, because I wanted to watch that goddamned tape again. And the truth also was this: Pop hadn't even had to pull the old switcheroo right in front of them - although, with his eyes unwooled, Mr Delevan was reluctantly willing to believe the old son of a bitch had probably been prepared to do just that, if he had to, and probably could have done it, too, pushing seventy or not. With them upstairs and him downstairs, presumably doing no more than getting Kevin's photographs, he could have swapped twenty cameras, at his leisure.
'Dad?'
'I suppose he could have,' Mr Delevan said. 'But why?'
Kevin could only shake his head. He didn't know why. But that was all right; Mr Delevan thought he did, and it was something of a relief. Maybe honest men didn't have to learn the world's simplest truths over and over again; maybe some of those truths eventually stuck fast. He'd only had to articulate the question aloud in order to find the answer. Why did the Pop Merrills of this world do anything? To make a profit. That was the reason, the whole reason, and nothing but the reason. Kevin had wanted to destroy it. After looking at Pop's videotape, Mr Delevan had found himself in accord with that. Of the three of them, who had been the only one capable of taking a longer view?
Why, Pop, of course. Reginald Marion 'Pop' Merrill.
John Delevan had been sitting on the edge of Kevin's bed with an arm about his son's shoulders. Now he stood up. 'Get dressed. I'll go downstairs and call in. I'll tell Brandon I'll probably just be late, but to assume I won't be in at all.'
He was preoccupied with this, already talking to Brandon Reed in his mind, but not so preoccupied he didn't see the gratitude which lighted his son's worried face. Mr Delevan smiled a little and felt that uncharacteristic gloom first ease and then let go entirely. There was this much, at least: his son was as yet not too old to take comfort from him, or accept him as a higher power to whom appeals could sometimes be directed in the knowledge that they would be acted upon; nor was he himself too old to take comfort from his son's comfort.
'I think,' he said,