Gerald's Game - Stephen King [57]
Behind her, someone has cranked the volume on Maddy's little record-player and that terrible song blares louder than ever, triumphant and glittery and sadistic: 'IT HURTS ME SO INSIDE . . . TO BE TREATED SO UNKIND . . . SOMEBODY, SOMEWHERE . . . TELL HER IT AIN'T FAIR . . . '
She tries again to get rid of the mallet — to throw it away but she can't do it; it's as if someone has handcuffed her to it.
Nora! she cries. Nora, you have to help me! Stop him!
(It was at this point in the dream that Jessie moaned for the first time, momentarily startling the dog back from Gerald's body.)
Nora shakes her head, slowly and gravely. I can't help you, Jessie. You're on your own — we all are. I generally don't tell my patients that, hut I think in your case it's best to be honest.
You don't understand! I can't go through this again! I CAN'T!
Oh, don't he so silly, Nora says, suddenly impatient. She begins to turn away, as if she can no longer bear the sight of Jessie's upturned, frantic face. You will not die; it's not poison.
Jessie looks around wildly (although she remains unable to straighten up, to stop presenting that tempting target to her impending brother) and sees that her friend Tammy Hough is gone; standing there in Tammy's white shorts and yellow halter is Ruth Neary. She's holding Tammy's red-striped croquet mallet in one hand and a Marlboro in the other. Her mouth is hooked up at the corners in her usual sardonic grin, but her eyes are grave and full of sorrow.
Ruth, help me! Jessie shouts. You have to help me!
Ruth takes a big drag on her cigarette, then grinds it into the grass with one of Tammy Hough's cork-soled sandals. Jeepers-creepers, tootsie — he's going to goose you, not stick a cattle-prod up your ass. You know that as well as I do; you've been through all this before. So what's the big deal?
It isn't just a goose! It isn't, and you know it!
The old hooty-owl hooty-hoos to the goose, Ruth says.
What? What does that m —
It means how can I know anything about ANYTHING? Ruth shoots back. There is anger on the surface of her voice, deep hurt beneath. You wouldn't tell me — you wouldn't tell anybody. You ran away. You ran like a rabbit that sees the shadow of some old hooty-owl on the grass.
I COULDN'T TELL! Jessie shrieks. Now she can see a shadow on the grass beside her, as if Ruth's words have conjured it up. It is not the shadow of an owl, however; it is the shadow of her brother. She can hear the stifled giggles of his friends, knows he is reaching out to do it, and still she cannot even straighten up, let alone move away. She is helpless to change what is going to happen, and she understands that this is the very essence of both nightmare and tragedy.
I COULDN'T! she shrieks at Ruth again. I couldn't, not ever! It would have killed my Mom . . . or destroyed the family or both! He said! Daddy said!
I hate to be the one to send you this particular newsflash, tootsie-wootsie, but your dear old Dad will have been dead twelve years come December. Also, can't we dispense with at least a little of this melodrama? It's not as if he hung you