But he's not God. At least not in this case. He knows damned well that Jake Chambers wasn't there on the day of his accident, nor Roland Deschain, either-the idea's laughable, they're make-believe, for Christ's sake-but he also knows that at some point the song he hears when he sits at his fancy Macintosh writing-machine became Jake's death-song, and to ignore that would have been to lose touch with Ves'-Ka Gan entirely, and he must not do that. Not if he is to finish. That song is the only thread he has, the trail of breadcrumbs he must follow if he is ever to emerge from this bewildering forest of plot he has planted, and-
Are you sure you planted it?
Well... no. In fact he is not. So call for the men in the white coats.
And are you completely sure Jake wasn't there that day? After all, how much of the damned accident do you actually remember?
Not much. He remembers seeing the top of Bryan Smith's van appear over the horizon, and realizing it's not on the road, where it should be, but on the soft shoulder. After that he remembers Smith sitting on a rock wall, looking down at him, and telling him that his leg was broke in at least six places, maybe seven. But between these two memories-the one of the approach and the one of the immediate aftermath-the film of his memory has been burned red.
Or almost red.
But sometimes in the night, when he awakes from dreams he can't quite remember...
Sometimes there are... well...
"Sometimes there are voices," he says. "Why don't you just say it?"
And then, laughing: "I guess Ijust did."
He hears the approaching click of toenails down the hall, and Marlowe pokes his long nose into the office. He's a Welsh Corgi, with short legs and big ears, and a pretty old guy now, with his own aches and pains, not to mention the eye he lost to cancer the previous year. The vet said he probably wouldn't make it back from that one, but he did. What a good guy. What a tough guy. And when he raises his head from his necessarily low perspective to look at the writer, he's wearing his old fiendish grin. How's it goin, bubba? that look seems to say. Gettin any good words today? How do ya?
"I do fine," he tells Marlowe. "Hangin in. How are you doin?"
Marlowe (sometimes known as The Snoutmaster) waggles his arthritic rear end in response.
"You again." That's what I said to him. And he asked, "Do you remember me?" Or maybe he said it-"You remember me."I told him I was thirsty. He said he didn't have anything to drink, he said sorry, and I called him a liar. And I was right to call him a liar because he wasn't sorry a bit. He didn't care a row of pins if I was thirsty because Jake was dead and he tried to put it on me, son of a bitch tried to put the blame on me-
"But none of that actually happened," King says, watching Marlowe waddle back toward the kitchen, where he will check his dish again before taking one of his increasingly long naps.
The house is empty except for the two of them, and under those circumstances he often talks to himself. "I mean, you know that, don't you? That none of it actually happened?"
He supposes he does, but it was so odd for Jake to die like that. Jake is in all his notes, and no surprise diere, because Jake was supposed to be around until the very end. All of them were, in fact. Of course no story except a bad one, one that arrives DOA, is ever completely under the writer's control, but this one is so out of control it's ridiculous. It really is more like watching something happen-or listening to a song-than writing a damned made-up story.
He decides to make himself a peanut butter and jelly sandwich for lunch and forget the whole damned thing for another day. Tonight he will go to see the new Clint Eastwood movie,
Bloodxoork, and be glad he can go anywhere, do anything.
Tomorrow he'll be back at his desk, and something from the film may slip out into the book-certainly Roland himself was partly Clint Eastwood to start with, Sergio Leone's Man with No Name.
And... speaking of books...
Lying on the coffee-table is one that came via FedEx from his office in Bangor just this morning: The Complete Poetical Works of Robert Browning. It contains, of course, "Childe Roland to the Dark Tower Came," the narrative poem that lies at the root of King's long (and trying) story. An idea suddenly occurs to him, and it brings an expression to his face that stops just short of outright laughter. As if reading his feelings (and possibly he can; King has always suspected dogs are fairly recent emigres from that great I-know-just-how-you-feel country of Empathica), Marlowe's own fiendish grin appears to widen.
"One place for the poem, old boy," King says, and tosses the book back onto the coffee-table. It's a big 'un, and lands with a thud. "One place and one place only." Then he settles deeper in the chair and closes his eyes. Just gonna sit here like this for a minute or two, he thinks, knowing he's fooling himself, knowing he'll almost certainly doze off. As he does.
Part Four:THE WHITE LANDS OF EMPATHICA
Chapter I:THE THING UNDER THE CASTLE
ONE
They did indeed find a good-sized kitchen and an adjoining pantry at ground-level in the Arc 16 Experimental Station, and not far from the infirmary. They found something else, as well: the office of sai Richard P. Sayre, once the Crimson King's Head of Operations, now in the clearing at the end of the path courtesy of Susannah Dean's fast right hand. Lying atop Sayre's desk were amazingly complete files on all four of them.
These they destroyed, using the shredder. There were photographs of Eddie and Jake in the folders that were simply too painful to look at. Memories were better.
On Sayre's wall were two framed oil-paintings. One showed a strong and handsome boy. He was shirtless, barefooted, tousle-haired, smiling, dressed only in jeans and wearing a docker's clutch. He looked about Jake's age. This picture had a notquite-pleasant sensuality about it. Susannah thought that the painter, sai Sayre, or both might have been part of the Lavender Hill Mob, as she had sometimes heard homosexuals called in the Village. The boy's hair was black. His eyes were blue. His lips were red. There was a livid scar on his side and a birthmark on his left heel as crimson as his lips. A snow-white horse lay dead before him. There was blood on its snarling teeth. The boy's marked left foot rested on the horse's flank, and his lips were curved in a smile of triumph.
"That's Llamrei, Arthur Eld's horse," Roland said. "Its image was carried into battle on the pennons of Gilead, and was the sigul of all In-World."
"So according to this picture, the Crimson King wins?" she asked. "Or if not him then Mordred, his son?"
Roland raised his eyebrows. "Thanks to John Farson, the Crimson King's men won the In-World lands long ago," he said.
But then he smiled. It was a sunny expression so unlike his usual look that seeing it always made Susannah feel dizzy. "But I think wwon the only battle that matters. What's shown in this picture is no more than someone's wishful fairy-tale." Then, with a savagery that startled her, he smashed the glass over the frame with his fist and yanked the painting free, ripping it most of the way down the middle as he did so. Before he could tear it to pieces, as he certainly meant to do, she stopped him and pointed to the bottom. Written there in small but nonetheless extravagant calligraphy was the artist's name: ^afoich ^Dwrnu/Ze.
The other painting showed the Dark Tower, a sooty-gray black cylinder tapering upward. It stood at the far end of Can'-Ka No Rey, the field of roses. In their dreams the Tower had seemed taller than the tallest skyscraper in New York (to Susannah this meant the Empire State Building). In the painting it looked to be no more than six hundred feet high, yet this robbed it of none of its dreamlike majesty. The narrow windows rose in an ascending spiral around it just as in their dreams. At the top was an oriel window of many colors-each, Roland knew, corresponding to one of the Wizard's glasses. The inmost circle but one was the pink of the ball that had been left for awhile in the keeping of a certain witch-woman named Rhea; the center was the dead ebony of Black Thirteen.
"The room behind that window is where I would go," Roland said, tapping the glass over the picture. "That is where my quest ends." His voice was low and awestruck. "This picture wasn't done from any dream, Susannah. It's as if I could touch the texture of every brick. Do you agree?"
"Yes." It was all she could say. Looking at it here on the late Richard Sayre's wall robbed her breath. Suddenly it all seemed possible. The end of the business was, quite literally, in sight.
"The person who painted it must have been there," Roland mused. "Must have set up his easel in the very roses."
"Patrick Danville," she said. "It's the same signature as on the one of Mordred and the dead horse, do you see?"
"I see it very well."
"And do you see the path through the roses that leads to the steps at the base?"
"Yes. Nineteen steps, I have no doubt. Chassit. And the clouds overhead-"
She saw them, too. They formed a kind of whirlpool before streaming away from the Tower, and toward the Place of the Turtle, at the other end of the Beam they had followed so far. And she saw another thing. Outside the barrel of the Tower, at what might have been fifty-foot intervals, were balconies encircled with waist-high wrought-iron railings. On the second of these was a blob of red and three tiny blobs of white: a face that was too small to see, and a pair of upraised hands.
"Is that the Crimson King?" she asked, pointing. She didn't quite dare put the tip of her finger on the glass over that tiny figure. It was as if she expected it to come to life and snatch her into the picture.