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By Root 442 0

the dim living room, she slips her right index finger inside the trigger-guard and nestles it against the trigger. She is hesitant, not sure where to go next. Her eye is drawn to the flicker of reflected TV-light from the den, her ear by the sound of people moving in the kitchen. The voice in her head, the one demanding revenge for Jimmy, has fallen silent, and she isn't sure which way to go. Her eye registers a brief strobe of red light, but her mind does nothing with the input; it is totally preoccupied with the question of how she should go on. Marinville and Wyler are in the kitchen, she's sure of that, but is the killer brat in there with them? She glances doubtfully toward the TV flicker again. No sound, but maybe autistic children watch it with the sound off.

She has to be sure, that's the thing. There are probably just a couple of rounds left in the .30-.06 . . . and they likely won't give her a chance to pull the trigger more than once or twice, anyway. She wishes the voice would speak up again, tell her what to do.

And then it does.

Across the street, on the cement path between the Carvers' front door and the sidewalk, Cynthia has seen Cammie go into the Wyler house. Her eyes widen. Before she can say anything, Steve nudges her sharply. She looks at him and sees he's got a finger to his lips. In his other hand he's got a knife from the Carvers' kitchen rack.

'Come on,' he murmurs.

'You're not going to use that, are you?'

'I hope I don't have to,' he says. 'Are you coming?'

She nods and follows. As they step off the curb and into Tak's version of the Old West, a confusion of shrieks and shouts commences from inside the Wyler house. Get out of him, Cynthia hears, something like that, anyway, then more stuff she can't even begin to decipher. Most or all of it seems to be coming from the Wyler woman, although she hears a scream from Cammie Reed ('Put it down'? Is that what she's screaming?) and a hoarse cry that likely comes from Marinville. Then, two whipcracking rifle shots and a scream of either agony or extreme horror. Cynthia can't tell which, isn't sure she wants to know.

Nevertheless, by the time she and Steve reach the far side of Desperation's Main Street, both of them are running.

Seth's Place/Seth's Time

Now. It all comes down to now.

He turns away from the shelf with the PlaySkool phone on it. Built into the other side of the passage's wall is a small control panel, very similar to the ones built into the nav-pits of the Power Wagons. Jutting from it is a row of seven switches, each turned up to the position marked ON. Above each switch, a small green telltale glows in the gloom. This panel wasn't here when Seth reached the end of the passage, only the pictures of his two families, the picture of Mr Symes, and the telephone. But this is Seth's place, Seth's time, and it's like the pockets in his shorts: he can add pretty much whatever he wants to add, and whenever he wants to do it.

Seth reaches toward the panel with a hand that trembles slightly. In the movies and on TV, the characters never seem afraid, and when Paw Cartwright has to act to save the Ponderosa, he always knows just what to do. Lucas McCain, Rowdy Yates, and Sheriff Streeter are never unsure of themselves. But Seth is. Plentyunsure. The end of the game is now, and he's terrified of making an irrevocable mistake. For now he still knows what's going on upstairs (this is how he thinks of Tak's world now, as upstairs), but if he turns these switches —

There's no time to reconsider, though. Audrey is in the bathroom. Audrey is rushing for the little boy sitting on the toilet with his underpants dangling from one grimy ankle, the little boy who is — for the time being, at least — just a wax dummy with lungs that breathe and a heart that beats, a human machine deserted by both its ghosts. She kneels before him and sweeps him into her arms. She begins to cover his face with kisses, unmindful of anything else — the room, the circumstances, Marinville standing behind her in the doorway.

And now Seth senses the red swarm that is